Rachel Greene
Since the beginning
Works in New York, Nebraska United States of America

BIO
Rhizome is friends and family for Rachel, who has been involved with the org. in one capacity or another since 1997 when it was rhizome.com!!
Rachel wrote a book on internet art for thames & hudson's well-known WORLD OF ART series: it was published in June 2004. She was a consultant and catalogue author for the 2004 Whitney Biennial. She has also written for publications including frieze, artforum, timeout and bomb.
Discussions (824) Opportunities (20) Events (0) Jobs (0)
DISCUSSION

Re: between the "a" and the "t"


I think it's a good point. By the way, I am used to the dissection and
analysis of semantic details -- Mark is also a grammar nazi. ;)

On Tuesday, September 30, 2003, at 12:07 PM, Curt Cloninger wrote:

> Thanks Rachel,
>
> I'm just (nit-)picking on the illogical use of the word "at" in the
> masthead. Rhizome could still prominently ackowledge the New Museum's
> support in the masthead by rewording it so that it doesn't say a
> rhizome is at someplace. But maybe I'm just a grammar nazi.
>
> peace,
> curt
>
>
>
> At 11:31 AM -0400 9/30/03, Rachel Greene wrote:
>> Hi Curt:
>>
>>
>> I hear your point about the apparent contradiction of having a
>> location attached to our logo on our homepage. Our programs are
>> rhizomatic (decentralized, distributed, grassroots), but they are
>> supported by a nonprofit organization that has an office (not a
>> distributed virtual office but an actual little room) and a small
>> staff (so small that we're really more of a collective node than a
>> distributed network of individuals). This small nonprofit is now
>> affiliated with the New Museum, but our programs and the Rhizome
>> community remain globally dispersed and rhizomatic in nature. This
>> affiliation won't change our mission, but it will help ensure our
>> ability to continue to fulfill it, so we wanted to acknowledge the
>> New Museum's support in a very prominent way.
>>
>> As for the NYC-centric bit, I actually keep tabs on the demographics
>> of Rhizome editorial projects (especially, for obvious reasons,
>> Digest and Net Art News) and there is not a heavy bias towards NYC.
>> There are a lot of New Yorkers on Raw, and Francis and I live and
>> work here, but I don't think "grossly NYC-centric" is a fair
>> assessment.
>>
>>
>> Very best,
>>
>> Rachel
>>
>>
>> On Saturday, September 27, 2003, at 11:19 AM, Curt Cloninger wrote:
>>
>>> Hi everybody who reads rhizome raw,
>>>
>>> I just have to say that the new banner "rhizome.org --> at the new
>>> museum" is grossly oxymoronic. A rhizome has no central node.
>>> That's the famous point. You can't have a rhizome "at" anywhere.
>>> I'm not even sure you can have a ".org" at anywhere. Are the .org
>>> administrative duties housed within the New Museum org chart? Is
>>> the .org site server hardware housed within the new museum building?
>>>
>>> In any other community, me pointing this out would just be semantic
>>> nit-picking, but the whole ethos of this community (although it's
>>> always been grossly NYC-centric) is virtuality and world-wide-ness.
>>> The new site banner is antithetical to this ethos.
>>>
>>> Maybe rhizomatic strucutres are overly idealistic to begin with. The
>>> physical network may allow it, but human's simply can't
>>> paradigmatically accept it and fit it into the rest of their
>>> hierarchized world.
>>>
>>> Or maybe it just played out that way in this one instance.
>>>
>>> Or maybe the banner simply needs to be changed to something more
>>> accurate like:
>>> "rhizome.org --> largely funded and run by the new museum"
>>>
>>> I'm not trying to dredge up the old anti-kapitalistik
>>> stone-throwing. I don't have any intrinsic beef with hierarchy or
>>> making money. The new partnership may prove to be the best tihng
>>> for rhizome since sliced bacon. I'm just pointing out that the new
>>> site banner don't make no sense.
>>>
>>> humbly,
>>> curt
>>> + ti esrever dna ti pilf nwod gniht ym tup
>>> -> post: list@rhizome.org
>>> -> questions: info@rhizome.org
>>> -> subscribe/unsubscribe:
>>> http://rhizome.org/preferences/subscribe.rhiz
>>> -> give: http://rhizome.org/support
>>> +
>>> Subscribers to Rhizome are subject to the terms set out in the
>>> Membership Agreement available online at
>>> http://rhizome.org/info/29.php
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>

DISCUSSION

Re: between the "a" and the "t"


Hi Curt:

I hear your point about the apparent contradiction of having a location
attached to our logo on our homepage. Our programs are rhizomatic
(decentralized, distributed, grassroots), but they are supported by a
nonprofit organization that has an office (not a distributed virtual
office but an actual little room) and a small staff (so small that
we're really more of a collective node than a distributed network of
individuals). This small nonprofit is now affiliated with the New
Museum, but our programs and the Rhizome community remain globally
dispersed and rhizomatic in nature. This affiliation won't change our
mission, but it will help ensure our ability to continue to fulfill it,
so we wanted to acknowledge the New Museum's support in a very
prominent way.

As for the NYC-centric bit, I actually keep tabs on the demographics of
Rhizome editorial projects (especially, for obvious reasons, Digest and
Net Art News) and there is not a heavy bias towards NYC. There are a
lot of New Yorkers on Raw, and Francis and I live and work here, but I
don't think "grossly NYC-centric" is a fair assessment.

Very best,

Rachel

On Saturday, September 27, 2003, at 11:19 AM, Curt Cloninger wrote:

> Hi everybody who reads rhizome raw,
>
> I just have to say that the new banner "rhizome.org --> at the new
> museum" is grossly oxymoronic. A rhizome has no central node. That's
> the famous point. You can't have a rhizome "at" anywhere. I'm not
> even sure you can have a ".org" at anywhere. Are the .org
> administrative duties housed within the New Museum org chart? Is the
> .org site server hardware housed within the new museum building?
>
> In any other community, me pointing this out would just be semantic
> nit-picking, but the whole ethos of this community (although it's
> always been grossly NYC-centric) is virtuality and world-wide-ness.
> The new site banner is antithetical to this ethos.
>
> Maybe rhizomatic strucutres are overly idealistic to begin with. The
> physical network may allow it, but human's simply can't
> paradigmatically accept it and fit it into the rest of their
> hierarchized world.
>
> Or maybe it just played out that way in this one instance.
>
> Or maybe the banner simply needs to be changed to something more
> accurate like:
> "rhizome.org --> largely funded and run by the new museum"
>
> I'm not trying to dredge up the old anti-kapitalistik stone-throwing.
> I don't have any intrinsic beef with hierarchy or making money. The
> new partnership may prove to be the best tihng for rhizome since
> sliced bacon. I'm just pointing out that the new site banner don't
> make no sense.
>
> humbly,
> curt
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>

DISCUSSION

Re: between the "a" and the "t"


Hi Liza --

I think there has been a misunderstanding -- the New Museum is not
taking over the ArtBase. Works in the ArtBase are not becoming part of
the New Museum's collection. Rhizome.org is now affiliated with the New
Museum, meaning they provide us with office space and administrative
support and we plan to work together on exhibitions and events, but
Rhizome remains an independent organizational entity with the same
mission, core principles and programs as before. Hope that clears up
your query.

Very best, Rachel

On Saturday, September 27, 2003, at 04:59 PM, Liza Sabater wrote:

> Question to Rhizome,
>
> Since Rhizome is not a rhizome anymore, if the New Museum is taking
> over the ARTBASE, does this mean that all artists are being collected
> by the New Museum? Are these pieces going into their permanent
> collection? What will the relationship be, if any, between the New
> Museum and artists? Wouldn't artists have to sign a copyright (or
> copyleft) agreement with them?
>
> Just asking.
>
>
> On Saturday, Sep 27, 2003, at 11:19 America/New_York, Curt Cloninger
> wrote:
>
>> Hi everybody who reads rhizome raw,
>>
>> I just have to say that the new banner "rhizome.org --> at the new
>> museum" is grossly oxymoronic. A rhizome has no central node. That's
>> the famous point. You can't have a rhizome "at" anywhere. I'm not
>> even sure you can have a ".org" at anywhere. Are the .org
>> administrative duties housed within the New Museum org chart? Is the
>> .org site server hardware housed within the new museum building?
>>
>> In any other community, me pointing this out would just be semantic
>> nit-picking, but the whole ethos of this community (although it's
>> always been grossly NYC-centric) is virtuality and world-wide-ness.
>> The new site banner is antithetical to this ethos.
>>
>> Maybe rhizomatic strucutres are overly idealistic to begin with. The
>> physical network may allow it, but human's simply can't
>> paradigmatically accept it and fit it into the rest of their
>> hierarchized world.
>>
>> Or maybe it just played out that way in this one instance.
>>
>> Or maybe the banner simply needs to be changed to something more
>> accurate like:
>> "rhizome.org --> largely funded and run by the new museum"
>>
>> I'm not trying to dredge up the old anti-kapitalistik stone-throwing.
>> I don't have any intrinsic beef with hierarchy or making money. The
>> new partnership may prove to be the best tihng for rhizome since
>> sliced bacon. I'm just pointing out that the new site banner don't
>> make no sense.
>>
>> humbly,
>> curt
>> + ti esrever dna ti pilf nwod gniht ym tup
>> -> post: list@rhizome.org
>> -> questions: info@rhizome.org
>> -> subscribe/unsubscribe:
>> http://rhizome.org/preferences/subscribe.rhiz
>> -> give: http://rhizome.org/support
>> +
>> Subscribers to Rhizome are subject to the terms set out in the
>> Membership Agreement available online at
>> http://rhizome.org/info/29.php
>>
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>

DISCUSSION

Fwd: Next CARTE Conference


Begin forwarded message:

> From: Jane Prophet <jane@cairn.demon.co.uk>
> Date: Mon Sep 29, 2003 12:01:12 PM US/Eastern
> Subject: Next CARTE Conference
>
> Apologies for any cross-posting
>
> TIME, SPACE AND THE ARTISTS DOCUMENT
>
> SATURDAY 1 NOV; 10am - 5.30pm Old Cinema, Regent
>
> Street
>
> A symposium exploring how creative work reveals the
> conceptual interplay between art, physics and philosophy
> Time, Space and the Artists Document' addresses how
> time and space are understood and represented by artists
> and scientists working creatively. The of speakers will
> present work which explores time and space from the
> point of view of physics, video art, philosophy and
> curatorial practice.
>
> SPEAKERS:
>
> (Keynote)
> Janna Levin: Cambridge University; author of 'How the
> Universe got its Spots'; her work in theoretical physics
> addresses postulations of the finite universe; also
> engaged in examining arts practice
>
> Grace Weir: artist exploring Einstein's theories relating to
> time and space; her work is largely as video installation;
> she represented Ireland at the Venice Biennale 2001. The
> symposium is organised to coincide with a national tour of
> Grace's work in the UK organised by Cornerhouse
> Manchester. Her presentations will include screening of
> her new work.
>
> Robyn Ferrell: philosopher; she is working on Deluze and
> the contemporary ways of approaching art, literature and
> philosophy; a specialist area is Australian aboriginal art
> and the representation of time and space in this context.
>
> Francis Mackee: curator of new media, CCI Glasgow; his
> particular interests are in physics and the representation of
> time in film and video
>
>

DISCUSSION

Fwd: cream 13: cream bits


If people don't know cream, it's really good though doesn't publish
that often. -- Rachel

Begin forwarded message:

> From: "cream" <cream@laudanum.net>
> Date: Mon Sep 29, 2003 6:35:19 AM US/Eastern
> To: rachel@rhizome.org
> Subject: cream 13: cream bits
> Reply-To: cream-info@laudanum.net
>
>
> ********************************************************************
>
>
> cream 13: cream bits
>
>
> ********************************************************************
>
> Cream almost seemed to melt away in the long hot summer we had on the
> European continent. You, the honorable members of the cream newsletter,
> have been terribly neglected. To relief you a bit from the lack of
> necessary art protiens and cultural vitamins this is causing we now
> serve you a few cream bits, drops and scoops. Our present cream editor
> is still seeking some secret ingredients for cream 14: the end of the
> internet. Will it become a sizzler or a skidder, will it keep balance
> or
> fall from the edges of the internet? Send us your thoughts on 'the
> end of the internet' and our editor might just think your text the
> cherry on his cream. But first, here's some lusheous info snacks for
> you.
>
> ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
>
> content:
> ! art contexts, projects and short reviews
> * found treasures (non-creamy reviews)
> ? cream contribs activities
>
> ::::::::::::::::::::::::::::::::::::::_____________>
>
> ! some of what is going on out there: art contexts, projects, reviews !
>
> :::
>
> The Daniel Langlois Foundation and the Guggenheim have published a book
> by the Variable Media Approach entitled 'permanence through change',
> which deals with the preservation of what the book calls
> "nontraditional
> art works". This means art works that are not stable objects. One of
> the
> introductions is a highly ironic text by Bruce Sterling, who describes
> the many dangers threatening art works in colorful terms and then adds
> the new problems of the digital age on top. Besides the obvious problem
> of obsolete hardware the illusion of digital information being
> immaterial and thus eternally available needs some reflection: "Bits
> have no archival medium. We haven't invented one yet. If you print
> something on acid free paper, and you put it in a dry dark closet, you
> can read it in 200 years. We have no way to archive bits that we know
> will be readable in even 50 years. Tape demagnetizes. CDs delaminate.
> Networks go down." The other texts are gathered in thematic chapters
> called perspective, method, case studies and resources. Amongst the
> case
> studies are works by Nam June Paik, Felix Gonzalez-Torres and Mark
> Napier. The variable media approach seems to offer a very good addition
> to the discourses on the preservation of contemporary art, by also
> taking the artist's intent and the art work's context into account,
> something which is not common practice of conservators yet. The book is
> bi-lingual, in French and English.
> It's ISBN number is 0-9684693-2-9
>
> ::::::::
>
> This year's Ars Electronica, the Austrian festival for art and
> electronic media, seems to have been slightly hacked. The texts from
> its
> catalogue are available on line at a rather obscure website, which
> makes
> them available for those without access to the book or for those
> without
> enough cash to buy one. The texts from amongst others Christiane Paul,
> Florian Cramer, Peter Bentley, Oliver Fritz, Richard Kriesche and
> Howard
> Rheingold all deal with this year's Ars Electronica theme 'CODE'.
>
> http://www32.brinkster.com/blueplane/aec03/
>
> ::::::::
>
> Heath Bunting, former net artist, was in Berlin this summer to present
> some of his projects at Buero Friedrich, one of Berlin's most
> interesting galleries, and to give a workshop in fence climbing for the
> Kuenstlerhaus Bethanien. The Fence Climbing project, a collaboration of
> Heath Bunting and Kaylee Brandon, has been nicely documented in a
> little
> booklet compiled by Kuenstlerhaus Bethanien curator Gerrit Gohlke. The
> booklet called 'tour de fence' hopes to encourage its readers to
> "become
> a tour de fence amateur team". More promo blurb : "tour the fence is
> the
> answer to your real needs. while the internet promised to level out all
> barriers, tour de fence enables you to surmount the fences out there
> that people erect to obstruct your way every day. from wire netting to
> rustic fence, from steel door to close security system, tour de fence
> offers you the necessary know-how for unhampered movement. tour de
> fence
> is the direct way." About ten people participated in the Berlin
> workshop
> to climb fences throughout the city, of which two children, aged 9 and
> 3
> years old.
>
> Distribution by Vice Versa Vertrieb, Dorotheenstrasse 4, D-12557
> Berlin,
> Germany. Or viceversa@comp.de
>
> http://bethanien.de/de/tourdefence2003.html
>
> ::::::::
>
> Jon Ippolito, artist, curator and member of the variable media
> initiative, is working as a teacher in Maine these days, in what he
> calls the 'Still Water' project. His students have now produced at
> least
> three projects, which you can find at the website below. One of the
> projects is a game, or a proposal for a game. In the game the player
> apparently becomes a five year old epileptic girl, and sees the world
> from her perspective. It is unclear whether the game is working
> already,
> but what I like a lot about the presentation of it on the website is
> that it plays with the usual commercial game release and conjures up
> fake past and future positive reviews and negative criticisms of the
> game. Definitely a game with potential, even if it is only in concept
> stage!
> http://newmedia.umaine.edu/codeplay/
>
> ::::::::
>
> The artist Cary Peppermint has been a special case inside the net art
> arena for some years now. His work is mostly off line performance art,
> yet he has also engaged in so called 'ebay art', making on line
> auctioning a mixture of conceptual and time based performance art and
> he
> has made a few small web projects. Peppermint is one of those artists
> that work with the internet as a given, as just one material at hand
> for
> contemporary art practice. In this new work for the on line art
> collection of Doron Golan Peppermint is using his alotted space to
> follow up on earlier work in which his private life is opened up and in
> which the artist balances uncomfortably between intimacy and
> exhibitionism. This is one of those artists for whom art and life are
> almost one, without the artist ever slipping into pure self indulgence.
> http://www.computerfinearts.com/collection/peppermint/mediation/
>
> ::::::::
>
> Another artist with a background in performance is Karen Lancel. Her
> work have so far been largely overlooked by the net art community and
> media art scene, which is a great shame. The reason for that seems to
> be
> that Lancel has not really involved herself in those on line
> communities
> which have spurred most of the attention for network art. Her work is
> interesting enough though. It ranges from 'nomansland', which deals
> with
> the question of territory and borders, to 'stalkshow', in which the
> audience has to follow someone wearing a computer on her/his back in
> order to be able to take part in the work. Only recently Lancel's
> 'agora-phobia-digitalis' was presented at the Eyebeam Gallery in New
> York. This installation, in which one can take part in a chat with
> someone in an isolated place, like a prison or a monastery, creates a
> feeling of space and claustrofobia at the same time. It consists of a
> transparent plastic blown up curl, which at the same time protects and
> encloses the audience participant, that serves as an outdoor computer
> booth. Both 'agora phobia digitalis' and 'stalkshow' are part of a
> larger project called 'traumatour', in which Karen Lancel investigates
> "psychological survival techniques for experiences with violence,
> (in)security and isolation".
> http://www.xs4all.nl/~lancel
> http://www.nomansland.nu/
> http://lab.v2.nl/projects/stalkshow.html
> http://www.agora-phobia-digitalis.org/uk/home.html
>
> ::::::::::::::::::::::::::::::::::::::_____________>
>
> * Reviews on the web - found treasures *
>
> :
>
> Lars Midboe, one of the organizers of the Swedish Electrohype
> festival,
> wrote a review of the latest edition of the Read-Me software art
> festival in Helsinki, where many of us wanted to go but weren't able
> to.
> The text is available at
> http://www.kopenhagen.dk/international/articlesint/readme0603.html
>
> ::::::::
>
> Artist Kate Rich, formerly part of the Bureau of Inverse Technologies
> together with Natalie Jeremienko, wrote a lengthy review of the
> 'Territories' exhibition in the Berliner Kunstwerke. The main focus in
> the text is on a project by the Israeli architects Segal and Weizman
> called LAND GRAB. The project seems an interesting, critically
> productive overlap between architecture, art and politics. The gallery
> Berliner Kunstwerke which is now presenting this project has a
> controversial approach to art which is at the moment causing heated
> debate in Berlin, since it is currently preparing an exhibition about
> art and the terrorist group Rote Armee Fraction. Read the text about
> 'Territories' at the web exclusive department of Mute magazine. Also
> check the text by Weizman and Misselwitz which you will find under Kate
> Rich's review on this same site:
> http://www.metamute.com/
>
> ::::::::
>
> Writing weblogs has really become popular. At the Next5Minutes
> conference just last weekend Geert Lovink called it the solution for
> mailing list and other email trouble. This weblog is filled by artists,
> curators and critics and offers an interesting, fast overview of
> various
> events and exhibitions around the globe.
>
> http://www.thecentreofattention.org/
>
> ::::::::
>
> Another interesting, weblog (blog) type site is netartreview.net. The
> site has been started by people that were annoyed by the change in
> membership policy of the new media arts site rhizome.org. It focusses
> on
> art on the net, and the content is mostly written by artists. When it
> first started a lot of the reviews were on older projects as well,
> which
> was good for those new to the net, but slightly boring for others. Now
> the site is amazingly fresh and should be in everyone's regular surfs.
> A
> very good alternative for or addition to rhizome's daily netartnews.
>
> http://www.netartreview.net/
>
> ::::::::::::::::::::::::::::::::::::::_____________>
>
> ? what are those creamies up to: cream contribs activities ?
>
> Saul Albert:
> Saul Albert is currently helping to build a distributed library
> (http://dlpdev.theps.net) for the University of Openess
> (http://uo.theps.net)
> where he is the janitor.
> You will be able to meet Saul Albert live in Rotterdam, the
> Netherlands,
> on October 12th, for a Dorkbot event, with ao Alexei Shulgin and
> Wilfried Houjebek (who organizes this event). See:
> http://dorkbot.org/dorkbotrotterdam/
>
> Inke Arns:
> Inke Arns is curator of the upcoming travelling exhibition of Irwin,
> the
> Slovenian art group. The Irwin exhibition will first be presented at
> the
> Kuenstlerhaus Bethanian in Berlin, Germany, from September 26th to
> October 26th. Then it will move on to the Karl-Ernst Osthaus Museum in
> Hagen, also Germany, from November 11th 2003 to Januari 4th 2004, to
> finish at the Museum of Contemporary Art of Belgrade, Serbia, from
> April
> 17th to May 17th 2004. A bi-lingual, German/English catalogue will
> appear, for more details please see the following web site:
> http://www.irwin-retroprincip.de/
>
> Tilman Baumgaertel:
> Together with Hartware from Dortmund Tilman Baumgaertel is preparing an
> exhibition on computer games. The exhibition will run from October 11th
> till November 30th in a renovated old industrial site called Phoenix
> West in Dortmund, Germany. Amongst the artists that are presented are
> Thomson & Craighead (UK) , Arcangel Constantini (MEX), Jodi (NL/BE) and
> Margarete Jahrmann and Max Moswitzer (A).
> http://www.hartware-projekte.de
>
> Josephine Bosma:
> You can find Josephine Bosma's latest text ('No Ego'), which is
> available in a preliminary version, at:
> http://www.404project.net/datenbank/bos_pdf
> The final version of this text will be available at the same site end
> of
> October 2003.
> Josephine Bosma will be speaking about art and the interface at a
> conference on the same topic at the University of Aarhus Denmark.
> Danish
> web site:
> http://www.digital-aestetik.dk/
>
> Sarah Cook:
> In spring 2004 Sarah Cook is co-curating an exhibition in the Banff New
> Media Institute, Canada, together with Steve Dietz and Anthony Kiendl,
> called Pretty Good Access. Details will be announced later.
>
> Florian Cramer:
> After making one exception by appearing as a speaker at this year's Ars
> Electronica, Florian Cramer will now focus entirely on finishing his
> PhD
> thesis on self-executing code in poetry (in the form of anagrams,
> permutations and finally computer sourcecode) from the late antiquity,
> 17th century, 20th century modernism to present.
>
> Steve Dietz:
> Steve Dietz also just started teaching, and the course he gives is
> called 'art after new media' at Carleton College in Northfield, MN.
> Then Steve Dietz is also preparing an exhibition in the Banff New Media
> Institute, together with Sarak Cook and Anthony Kiendl. More details on
> the exhibition called 'Pretty Good Access' will be announced later.
>
> Tetsuo Kogawa:
> At the 'birthday of art' Tetsuo Kogawa and others started a monthly
> webradio broadcast in Januari this year. For live stream at specific
> times and the archive of earlier webcasts check:
> http://anarchy.k2.tku.ac.jp/kinesonus/
> Then there is a big chance you can meet Tetsuo Kogawa in person at
> Radiophon'ic 2003, a radio art festival in Brussels from November 1st
> till November 8th. The website of this festival is nothing but a front
> page today (September 17th), but hopefully the program will appear
> there
> soon.
> http://www.radiophonic.org/
> Some info about the festival in French:
> http://www.acsr.be/rencontres.php
>
> Frederic Madre:
> The malfunctions of the Internet as a space for social re-invention
> have
> now become too numerous to mention for Frederic Madre. Tune Out. He is
> currently in a state of mourning and blames it all on the gluttony of
> weblogs. "Destroy All Weblogs" is his motto. Turn Off. Later this year,
> Fred will pick up the pieces and try to put everything forward
> together.
> Listening at night to Roland Barthes' "Living together" seminar helps
> him. A book of Frederic Madre's photographs will be published in the
> Fall of 2004. The word is "Idiorrythmie". Syndicate lives, he says.
> Drop
> in.
> http://www.roland-barthes.com/qesseuil/pub/FRA/seuil/extrait0014.htm
> http://2balles.cc/dehors.php
> http://pleine-peau.com/mange
> http://anart.no/~syndicate
>
> Robbin Murphy:
> Robbin Murphy is still in exile on an island in the Gulf of Mexico
> where
> he works at the confluence of digital theory and landscape
> architecture.
> He posts his findings daily on thingist (http://bbs.thing.net). If
> anyone knows the secret of making gardenias bloom he can be contacted
> at:
> murphy@thing.net
>
>
> <_________________________:::::::::::::::::::::::::::::::::::::::::::::
>
>
> cream is an experimental collaboration of writers and curators in the
> field of art, with a focus on art in networks. You can subscribe to
> cream
> and we invite you to forward this mail to anybody you feel might be
> interested in the content of cream.
>
> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
>
> Contributors and supporters of cream so far: Saul Albert, Inke Arns,
> Tilman
> Baumgaertel, Josephine Bosma, Sarah Cook, Florian Cramer, Steve Dietz,
> Katharina Gsollpointner, Karin Hinterleitner, Frederic Madre, Armin
> Medosch,
> Robbin Murphy, Tetsuo Kogawa, Uli Wegenast, Alex McLean, Jo Walsh,
> Michael
> Weinkove.
>
> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
>
> contact cream at: cream-info@laudanum.net
> web site: cream.artcriticism.org
>
> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
>


CURATED EXHIBITIONS (1)