ARTBASE (1)
BIO
Michael Szpakowski is an artist, composer, writer and educator.
CV:
http://www.somedancersandmusicians.com/szpakowski_cv.pdf
Video work:
http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi
Stills:
http://www.flickr.com/photos/szpako
12 Remixes:
http://www.michaelszpakowski.org/mickiewicz/
CV:
http://www.somedancersandmusicians.com/szpakowski_cv.pdf
Video work:
http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi
Stills:
http://www.flickr.com/photos/szpako
12 Remixes:
http://www.michaelszpakowski.org/mickiewicz/
Re: Shilpa Gupta at www.tate.org.uk/netart
Hi Jemima
thanks for the reply.
Nothing of what you've said about the piece, however,
is immediately apparent from the piece itself, which I
still find pretty lacklustre.
Plus, I'm just personally uncomfortable with the
amount of meta artistic sludge one has to trudge
thorugh in order to "get" a piece like this.
I can't help feeling that the worthy things you claim
the piece does could probably be better accomplished
by a terse little pamphlet on religion and
globalisation.
Did you take a look at the student piece that Curt
referenced?
I think it does a lot of what you claim for the Tate
piece with considerable more economy and force.
I will take a look though at the Tate documentation
and have a think about it, as you suggest.
best
michael
--- Jemima Rellie <Jemima.Rellie@tate.org.uk> wrote:
> Hi there Michael and I'd suggest it does for the
> following reasons:
>
> Religion >
> - The central subject for the work is world
> religion, from the
> perspective on an artist based in Mumbai.
>
> Globalisation >
> - Shilpa did not travel to the UK at any point in
> the commissioning
> process (This was primarily a question of how best
> to use the limited
> funds available. We're hoping to get Shilpa over in
> the Spring to
> participate in some related educational events). All
> communication
> between Tate and the artist and took place via pcs
> and phones.
> - What's more, I'd suggest that the work encourages
> visitors to reflect
> on the effect of globalisation on religion (and vice
> versa), and how
> religion on a state/global scale blurs with
> politics.
>
> Complex cultural and political dynamics of the
> internet >
> - The site homepage is IP specific and varies
> depending on the
> geographical point of access. In the UK, the first
> religion we are
> offered is Hindu.
> - Furthermore, the site is hosted in India, not with
> the majority of
> Tate Online's content, in Glasgow, which (I reckon)
> raises interesting
> questions about the relationship of the museum to
> such practice.
> - Shilpa has placed ads on Google to try and attract
> new, non net
> art/art museum visitors to engage with the very
> public work.
>
> This is my on the fly response, but I'd also really
> recommend reading
> the 2 texts that accompany the piece.
>
> : )
>
> Jemima
>
>
> -----Original Message-----
> From: Michael Szpakowski [mailto:szpako@yahoo.com]
> Sent: 08 November 2003 16:02
> To: Jemima Rellie; list@rhizome.org
> Subject: Re: RHIZOME_RAW: Shilpa Gupta at
> www.tate.org.uk/netart
>
>
> < the
> work explores religion, globalisation and the
> complex cultural and political dynamics of the
> internet.>
> Does it? How does it do this?
> So often I read these kind of assertions in
> artist's/curatorial statements.
> I took a look and it feels pretty ordinary and
> formulaic to me.
> Maybe I'm being uncharitable or missing something.
> Maybe I'm not looking in the right way.
> I'd be interested to know what others think.
> michael
>
> Commissioned by Tate Online
> > (http://www.tate.org.uk), it juxtaposes the real
> and
> > virtual worlds and encourages visitors to consider
> > how these spaces overlap and merge.
> >
> >
> > Two critical texts accompany the piece:
> > God, Prayer and Politics: The Work of Shilpa
> Gupta,
> > Heidi Reitmaier
> > Blessed-bandwidth.net: it's super authentic, Johan
> > Pijnappel
> >
> > Both texts and the work itself can be found via
> > http://www.tate.org.uk/netart/blessedbandwidth/
> >
> > +
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe:
> > http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > -> visit: on Fridays the Rhizome.org web site is
> > open to non-members
> > +
> > Subscribers to Rhizome are subject to the terms
> set
> > out in the
> > Membership Agreement available online at
> http://rhizome.org/info/29.php
>
>
> =====
> *** QuickTime large QuickTime NUMBER, it is small,
> office being nearly
> office OF the office OF the COMMANDS office OF the
> film or many nearly
> time the small order where that, that is the office
> OF the office OF the
> COMMANDS QuickTime when into the film, is given, it
> gives the office OF
> the
>
http://www.somedancersandmusicians.com/Some_QuickTime_Movies
> http://www.somedancersandmusicians.com/ ***
>
> __________________________________
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> Protect your identity with Yahoo! Mail AddressGuard
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=====
*** QuickTime large QuickTime NUMBER, it is small, office being nearly office OF the office OF the COMMANDS office OF the film or many nearly time the small order where that, that is the office OF the office OF the COMMANDS QuickTime when into the film, is given, it gives the office OF the
http://www.somedancersandmusicians.com/Some_QuickTime_Movies
http://www.somedancersandmusicians.com/ ***
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thanks for the reply.
Nothing of what you've said about the piece, however,
is immediately apparent from the piece itself, which I
still find pretty lacklustre.
Plus, I'm just personally uncomfortable with the
amount of meta artistic sludge one has to trudge
thorugh in order to "get" a piece like this.
I can't help feeling that the worthy things you claim
the piece does could probably be better accomplished
by a terse little pamphlet on religion and
globalisation.
Did you take a look at the student piece that Curt
referenced?
I think it does a lot of what you claim for the Tate
piece with considerable more economy and force.
I will take a look though at the Tate documentation
and have a think about it, as you suggest.
best
michael
--- Jemima Rellie <Jemima.Rellie@tate.org.uk> wrote:
> Hi there Michael and I'd suggest it does for the
> following reasons:
>
> Religion >
> - The central subject for the work is world
> religion, from the
> perspective on an artist based in Mumbai.
>
> Globalisation >
> - Shilpa did not travel to the UK at any point in
> the commissioning
> process (This was primarily a question of how best
> to use the limited
> funds available. We're hoping to get Shilpa over in
> the Spring to
> participate in some related educational events). All
> communication
> between Tate and the artist and took place via pcs
> and phones.
> - What's more, I'd suggest that the work encourages
> visitors to reflect
> on the effect of globalisation on religion (and vice
> versa), and how
> religion on a state/global scale blurs with
> politics.
>
> Complex cultural and political dynamics of the
> internet >
> - The site homepage is IP specific and varies
> depending on the
> geographical point of access. In the UK, the first
> religion we are
> offered is Hindu.
> - Furthermore, the site is hosted in India, not with
> the majority of
> Tate Online's content, in Glasgow, which (I reckon)
> raises interesting
> questions about the relationship of the museum to
> such practice.
> - Shilpa has placed ads on Google to try and attract
> new, non net
> art/art museum visitors to engage with the very
> public work.
>
> This is my on the fly response, but I'd also really
> recommend reading
> the 2 texts that accompany the piece.
>
> : )
>
> Jemima
>
>
> -----Original Message-----
> From: Michael Szpakowski [mailto:szpako@yahoo.com]
> Sent: 08 November 2003 16:02
> To: Jemima Rellie; list@rhizome.org
> Subject: Re: RHIZOME_RAW: Shilpa Gupta at
> www.tate.org.uk/netart
>
>
> < the
> work explores religion, globalisation and the
> complex cultural and political dynamics of the
> internet.>
> Does it? How does it do this?
> So often I read these kind of assertions in
> artist's/curatorial statements.
> I took a look and it feels pretty ordinary and
> formulaic to me.
> Maybe I'm being uncharitable or missing something.
> Maybe I'm not looking in the right way.
> I'd be interested to know what others think.
> michael
>
> Commissioned by Tate Online
> > (http://www.tate.org.uk), it juxtaposes the real
> and
> > virtual worlds and encourages visitors to consider
> > how these spaces overlap and merge.
> >
> >
> > Two critical texts accompany the piece:
> > God, Prayer and Politics: The Work of Shilpa
> Gupta,
> > Heidi Reitmaier
> > Blessed-bandwidth.net: it's super authentic, Johan
> > Pijnappel
> >
> > Both texts and the work itself can be found via
> > http://www.tate.org.uk/netart/blessedbandwidth/
> >
> > +
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe:
> > http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > -> visit: on Fridays the Rhizome.org web site is
> > open to non-members
> > +
> > Subscribers to Rhizome are subject to the terms
> set
> > out in the
> > Membership Agreement available online at
> http://rhizome.org/info/29.php
>
>
> =====
> *** QuickTime large QuickTime NUMBER, it is small,
> office being nearly
> office OF the office OF the COMMANDS office OF the
> film or many nearly
> time the small order where that, that is the office
> OF the office OF the
> COMMANDS QuickTime when into the film, is given, it
> gives the office OF
> the
>
http://www.somedancersandmusicians.com/Some_QuickTime_Movies
> http://www.somedancersandmusicians.com/ ***
>
> __________________________________
> Do you Yahoo!?
> Protect your identity with Yahoo! Mail AddressGuard
> http://antispam.yahoo.com/whatsnewfree
=====
*** QuickTime large QuickTime NUMBER, it is small, office being nearly office OF the office OF the COMMANDS office OF the film or many nearly time the small order where that, that is the office OF the office OF the COMMANDS QuickTime when into the film, is given, it gives the office OF the
http://www.somedancersandmusicians.com/Some_QuickTime_Movies
http://www.somedancersandmusicians.com/ ***
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close up to the ear of earth
'close up to the ear of earth'
A poem by Rosemary Drescher,
with music by Matthew Davidson
and images by Michael Szpakowski
http://www.somedancersandmusicians.com/close/close_up_to_the_ear_of_earth.html
=====
*** QuickTime large QuickTime NUMBER, it is small, office being nearly office OF the office OF the COMMANDS office OF the film or many nearly time the small order where that, that is the office OF the office OF the COMMANDS QuickTime when into the film, is given, it gives the office OF the
http://www.somedancersandmusicians.com/Some_QuickTime_Movies
http://www.somedancersandmusicians.com/ ***
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A poem by Rosemary Drescher,
with music by Matthew Davidson
and images by Michael Szpakowski
http://www.somedancersandmusicians.com/close/close_up_to_the_ear_of_earth.html
=====
*** QuickTime large QuickTime NUMBER, it is small, office being nearly office OF the office OF the COMMANDS office OF the film or many nearly time the small order where that, that is the office OF the office OF the COMMANDS QuickTime when into the film, is given, it gives the office OF the
http://www.somedancersandmusicians.com/Some_QuickTime_Movies
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Re: Re: Re: Shilpa Gupta at www.tate.org.uk/netart
Hi Curt
< one of my students made this piece in a couple of
weeks:
http://mmas.unca.edu/~amallen/guardianangel.html
Its copy is more amusing, its concept is more
focused, it more thoroughly chews what it bites off,
because it presumes to bite off less.>
I absolutely agree. I'd go further & say that
precisely *because* of its terseness, its concreteness
of content and its thoroughness of execution ( except
for the misspelling of 'promiscuous')
it actually starts to achieve some of the pretensions
of the Tate piece.
Isn't this often the case with good art that the truth
about a small thing, well told, then has many broader
and more universal implications?
When you have work like this it starts to be
meaningful to say that the piece is 'about this' or
'about that', 'does this' or 'does that' (although I'm
grateful that the artist herself didn't, or at least
not in that horribly portentous way).
< I think she got an A- or a B+ for it>
You're a hard man- I'd have given her a straight A.
best
michael
=====
*** QuickTime large QuickTime NUMBER, it is small, office being nearly office OF the office OF the COMMANDS office OF the film or many nearly time the small order where that, that is the office OF the office OF the COMMANDS QuickTime when into the film, is given, it gives the office OF the
http://www.somedancersandmusicians.com/Some_QuickTime_Movies
http://www.somedancersandmusicians.com/ ***
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< one of my students made this piece in a couple of
weeks:
http://mmas.unca.edu/~amallen/guardianangel.html
Its copy is more amusing, its concept is more
focused, it more thoroughly chews what it bites off,
because it presumes to bite off less.>
I absolutely agree. I'd go further & say that
precisely *because* of its terseness, its concreteness
of content and its thoroughness of execution ( except
for the misspelling of 'promiscuous')
it actually starts to achieve some of the pretensions
of the Tate piece.
Isn't this often the case with good art that the truth
about a small thing, well told, then has many broader
and more universal implications?
When you have work like this it starts to be
meaningful to say that the piece is 'about this' or
'about that', 'does this' or 'does that' (although I'm
grateful that the artist herself didn't, or at least
not in that horribly portentous way).
< I think she got an A- or a B+ for it>
You're a hard man- I'd have given her a straight A.
best
michael
=====
*** QuickTime large QuickTime NUMBER, it is small, office being nearly office OF the office OF the COMMANDS office OF the film or many nearly time the small order where that, that is the office OF the office OF the COMMANDS QuickTime when into the film, is given, it gives the office OF the
http://www.somedancersandmusicians.com/Some_QuickTime_Movies
http://www.somedancersandmusicians.com/ ***
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Re: Shilpa Gupta at www.tate.org.uk/netart
< the
work explores religion, globalisation and the
complex cultural and political dynamics of the
internet.>
Does it? How does it do this?
So often I read these kind of assertions in
artist's/curatorial statements.
I took a look and it feels pretty ordinary and
formulaic to me.
Maybe I'm being uncharitable or missing something.
Maybe I'm not looking in the right way.
I'd be interested to know what others think.
michael
Commissioned by Tate Online
> (http://www.tate.org.uk), it juxtaposes the real and
> virtual worlds and encourages visitors to consider
> how these spaces overlap and merge.
>
>
> Two critical texts accompany the piece:
> God, Prayer and Politics: The Work of Shilpa Gupta,
> Heidi Reitmaier
> Blessed-bandwidth.net: it's super authentic, Johan
> Pijnappel
>
> Both texts and the work itself can be found via
> http://www.tate.org.uk/netart/blessedbandwidth/
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is
> open to non-members
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
http://rhizome.org/info/29.php
=====
*** QuickTime large QuickTime NUMBER, it is small, office being nearly office OF the office OF the COMMANDS office OF the film or many nearly time the small order where that, that is the office OF the office OF the COMMANDS QuickTime when into the film, is given, it gives the office OF the
http://www.somedancersandmusicians.com/Some_QuickTime_Movies
http://www.somedancersandmusicians.com/ ***
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work explores religion, globalisation and the
complex cultural and political dynamics of the
internet.>
Does it? How does it do this?
So often I read these kind of assertions in
artist's/curatorial statements.
I took a look and it feels pretty ordinary and
formulaic to me.
Maybe I'm being uncharitable or missing something.
Maybe I'm not looking in the right way.
I'd be interested to know what others think.
michael
Commissioned by Tate Online
> (http://www.tate.org.uk), it juxtaposes the real and
> virtual worlds and encourages visitors to consider
> how these spaces overlap and merge.
>
>
> Two critical texts accompany the piece:
> God, Prayer and Politics: The Work of Shilpa Gupta,
> Heidi Reitmaier
> Blessed-bandwidth.net: it's super authentic, Johan
> Pijnappel
>
> Both texts and the work itself can be found via
> http://www.tate.org.uk/netart/blessedbandwidth/
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is
> open to non-members
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
http://rhizome.org/info/29.php
=====
*** QuickTime large QuickTime NUMBER, it is small, office being nearly office OF the office OF the COMMANDS office OF the film or many nearly time the small order where that, that is the office OF the office OF the COMMANDS QuickTime when into the film, is given, it gives the office OF the
http://www.somedancersandmusicians.com/Some_QuickTime_Movies
http://www.somedancersandmusicians.com/ ***
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Re: finding net.art in the rhizome artbase
I was pleased to read your earlier reassurances
Rachel.
For what it's worth I thought Nathaniel's recent
contribution was both constructive and measured.
As for Tim's point, of course we all currently exist
in a competitive context -I enter loads of things, I'm
not unhappy about having my work judged in general, if
you can't stand the heat &c-point taken, point taken!
The competitive principle just seems to me a
hideously inappropriate way to organise or relate to
the artbase ( especially were it to be introduced it
now, without any question of prior informed consent) &
it doesn't actually broaden access or make it more
interesting in any way in my view.
What's encouraging are the positive ideas that a
number of people have put forward - guest
curatorships, thematic shows &c. I have no problem
whatsoever with these.
best
michael
--- Rachel Greene <rachel@rhizome.org> wrote:
> I also agree that there is nothing wrong in people
> coming to their own
> conclusions about what they like and what they think
> is important. That
> is what is up!! I just don't want the context to be
> a competition.
>
>
>
> On Friday, November 7, 2003, at 11:25 AM, t.whid
> wrote:
>
> > re: competition
> >
> > Eryk's point, that one shouldn't be made to
> compete without one's
> > consent, makes sense; but the rest of the comments
> regarding
> > competition don't address his main point: being
> roped into a
> > competition without consent.
> >
> > There is nothing wrong with judging art on it's
> quality. Some of it is
> > good, some of it sucks.
> >
> > Artists attempting to make a career of it need to
> get used to people
> > judging your work, it happens all the time. You
> apply for grants,
> > residencies, galleries and etc and someone judges
> you at that point.
> >
> > MTAA has been judged poorly by many people many
> times. These people
> > are wrong. But tho we've been treated poorly time
> and again by these
> > judges we understand that it is something one must
> endure in order to
> > create art that gets noticed. It can even help one
> grow when one is
> > judged mediocre of a failure.
> >
> > So, I would be interested in a competition within
> the artbase (tho
> > MTAA's strongest work isn't represented). But
> Eryk's point needs to be
> > addressed before we go forward.
> >
> >> Can we not have a format without the competitive
> >> element?
> >
> > On Nov 7, 2003, at 10:55 AM, nathaniel stern
> wrote:
> >
> >> This would not be a
> >> competition (best or worst art?),
> >>
> >> Feisal Ahmad, who can be found @
> feisal@rhizome.org online, so boldly
> >> stated
> >> the following, on 11/7/03 5:15 PM:
> >>
> >>> I think we understand your feelings on the
> potential downside of the
> >>> 'competitive nature' of such an idea and it's
> definitely a valid
> >>> point.
> >
> > ===
> > <twhid>
> > http://www.mteww.com
> > </twhid>
> >
> > +
> > -> post: list@rhizome.org
> > -> questions: info@rhizome.org
> > -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> > -> give: http://rhizome.org/support
> > -> visit: on Fridays the Rhizome.org web site is
> open to non-members
> > +
> > Subscribers to Rhizome are subject to the terms
> set out in the
> > Membership Agreement available online at
> http://rhizome.org/info/29.php
> >
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is
> open to non-members
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
http://rhizome.org/info/29.php
=====
*** QuickTime large QuickTime NUMBER, it is small, office being nearly office OF the office OF the COMMANDS office OF the film or many nearly time the small order where that, that is the office OF the office OF the COMMANDS QuickTime when into the film, is given, it gives the office OF the
http://www.somedancersandmusicians.com/Some_QuickTime_Movies
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Rachel.
For what it's worth I thought Nathaniel's recent
contribution was both constructive and measured.
As for Tim's point, of course we all currently exist
in a competitive context -I enter loads of things, I'm
not unhappy about having my work judged in general, if
you can't stand the heat &c-point taken, point taken!
The competitive principle just seems to me a
hideously inappropriate way to organise or relate to
the artbase ( especially were it to be introduced it
now, without any question of prior informed consent) &
it doesn't actually broaden access or make it more
interesting in any way in my view.
What's encouraging are the positive ideas that a
number of people have put forward - guest
curatorships, thematic shows &c. I have no problem
whatsoever with these.
best
michael
--- Rachel Greene <rachel@rhizome.org> wrote:
> I also agree that there is nothing wrong in people
> coming to their own
> conclusions about what they like and what they think
> is important. That
> is what is up!! I just don't want the context to be
> a competition.
>
>
>
> On Friday, November 7, 2003, at 11:25 AM, t.whid
> wrote:
>
> > re: competition
> >
> > Eryk's point, that one shouldn't be made to
> compete without one's
> > consent, makes sense; but the rest of the comments
> regarding
> > competition don't address his main point: being
> roped into a
> > competition without consent.
> >
> > There is nothing wrong with judging art on it's
> quality. Some of it is
> > good, some of it sucks.
> >
> > Artists attempting to make a career of it need to
> get used to people
> > judging your work, it happens all the time. You
> apply for grants,
> > residencies, galleries and etc and someone judges
> you at that point.
> >
> > MTAA has been judged poorly by many people many
> times. These people
> > are wrong. But tho we've been treated poorly time
> and again by these
> > judges we understand that it is something one must
> endure in order to
> > create art that gets noticed. It can even help one
> grow when one is
> > judged mediocre of a failure.
> >
> > So, I would be interested in a competition within
> the artbase (tho
> > MTAA's strongest work isn't represented). But
> Eryk's point needs to be
> > addressed before we go forward.
> >
> >> Can we not have a format without the competitive
> >> element?
> >
> > On Nov 7, 2003, at 10:55 AM, nathaniel stern
> wrote:
> >
> >> This would not be a
> >> competition (best or worst art?),
> >>
> >> Feisal Ahmad, who can be found @
> feisal@rhizome.org online, so boldly
> >> stated
> >> the following, on 11/7/03 5:15 PM:
> >>
> >>> I think we understand your feelings on the
> potential downside of the
> >>> 'competitive nature' of such an idea and it's
> definitely a valid
> >>> point.
> >
> > ===
> > <twhid>
> > http://www.mteww.com
> > </twhid>
> >
> > +
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> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is
> open to non-members
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
http://rhizome.org/info/29.php
=====
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