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

net art and war in yugoslavia


hi -- can anyone recommend shows, projects or texts relating to the 1990s
war in Yugoslavia (kosovo, belgrade)? I mean new media stuff. thanks, rachel

DISCUSSION

FW: : What's Going On With Net Art News?


------ Forwarded Message
From: brooke singer <one@bsing.net>
Date: Thu, 16 Jan 2003 23:09:04 -0500
To: Rachel Greene <rachel@rhizome.org>
Subject: FW: : What's Going On With Net Art News?

Dear Daniel,
I am sorry you found my piece on SaveKaryn.com disgraceful. It is not the
typical fare for Net.Art News but I felt compelled to write about it and
Rachel humored me. I initially thought about putting it forward to the
Rhizome crowd last November when I first read about it in the New York
Times. Then I saw that Karyn had reached her $20,000 goal in just 4.5
months, and I acted.

I find the site an interesting phenomenon in itself, but mostly I am
interested in it in relation to several generally accepted net.art projects
like Ken Obadike's Ebay project, John Freyer's All My Life for Sale and
BlackPeopleLoveUs.com. It was not my intention to proclaim this site as
art--or not--but to introduce it in the context of previously covered
net.art projects in order to draw some parallels, raise some questions and
do something a bit different for the News. The 100 word maximum for the News
doesn

DISCUSSION

www.filmwinter.de


<http://www.filmwinter.de>

For Immediate Release "Defining Lines" online exhibition curated by Cristine
Wang <http://cristine.org/bio>
http://cristine.org/borders will participate in the International
Competition for "Best Internet Art" 16th Stuttgarter Filmwinter - Festival
for Expanded Media
Stuttgart (Germany) January 16 - 19, 2003 Festival Locations:
Filmhaus Stuttgart, Friedrichstr. 23 A /
Ex-IKEA, Kronenstr. 36 / GEDOK Stuttgart, Hoelderlinstr. 17
http://www.filmwinter.de

[Essays]
"Bandwidth in the Context of Contemporary Art"
an interview with Catherine David by Marleen Stikker "The Work of Art in the
Age of Digital Reproduction"
by Douglas Davis "Who does the Internet serve?"
by the Electrohippies Collective "Troubles with Life + the Internet"
by Marina Grzinic "Negotiating Meaning: the Dialogic Imagination in
Electronic Art"
by Eduardo Kac "Code as Law"
a presentation by Lawrence Lessig "Database as a Symbolic Form"
by Lev Manovich "Z-niffing the net: Hacking and Hacktivism"
by Jenny Marketou "On Electronic Civil Disobedience"
by Stefan Wray

[Intro]
This exhibition will attempt to present a comprehensive survey of the work
of artists
who are breaking down the borders or boundaries that define artistic
practise in the
21st century. From the computer DESKTOP, to DOWNLOADABLE COMPUTER VIRUSES,
OPEN SOURCE AND CODE CRACKING SOFTWARE, and E-BOOKS, to ALTERNATIVE NETWORK
BROWSERS, OPERATING SYSTEMS and SHAREWARE/FREEWARE, DOMAIN NAME SERVERS, to
GAMING PATCHES, LISTSERVS, ONLINE THEATER (in the form of activism, or
ELECTRONIC PROTEST)--what constitutes "ART" is being re-defined as EMERGING
TECHNOLOGIES and mediums are giving artists the "TOOLS" and a new means of
expression. In addition, our notions or definitions of the tangible,
physical "BORDER" "TERRITORY" or "OWNERSHIP/PROPERTY" is being transformed
in the virtual realm of cyberspace. The idea of territory becomes one of
"INTELLECTUAL PROPERTY" and "COPYRIGHT /LEFT". Geopolitical, and
topographical territories are being replaced with domain of the Corporations
and Governmental Agencies (ICANN) who control the "space" of the World Wide
Web. Borders existing on the network, tracing the idea of "open" borders vs.
"closed" borders, similarly we look at "firewalls", "encryption",
"carnivore"; in contrast to "open source", "General Public License" (and
therefore the ideas of "authorship") "sharing of files", "data transfer".
The "SERVER" or "HARD DRIVE" as the new territory where "HACKING" and "ART"
exchange fertile ground in the realm of the digital NETWORK we know as the
Internet. Artists and Activists have their say in the wide open territory of
the WWW, creating a hybrid art form called "PRACTIVISM" (--Paul Garrin).
Hackers and Activists merge and become "HACKTIVISTS" (--Electronic
Disturbance Theater). A new form of electronic theater or digital
performance art is developing, that of the Online Protest, or "VIRTUAL
SIT-IN". At the beginning of the 21st century, we see that the words of
Joseph Beuys has its corollary in the electronic realm: "...Social
Sculpture--how we mold and shape the world in which we live: SCULPTURE AS AN
EVOLUTIONARY PROCESS; EVERYONE IS AN ARTIST...All around us the fundamentals
of life are crying out to be shaped, or created." [--Joseph Beuys]

Photo Credits:
Roz Mortimer, "Dog of My Dreams", 2001, 35mm film
Tina LaPorta, "border\_cam", 2001, web-based project

[Festival Press Release follows below:]
Stuttgarter Filmwinter - The festival with an expanded media concept
1,300 submissions - festival record - from the film, video and new media
sector were brought forward to the preselection committee of the 16th
Stuttgarter Filmwinter - Festival for Expanded Media. This number makes the
Stuttgarter Filmwinter one of the most important European media art
festivals. NEW: DASDING Audience Award For Film/Video And New Media at the
16th Stuttgarter Filmwinter
New media and film / video. Two categories, in which DASDING, the SWR radio
station for adolescents and twens, presents its audience awards, in
cooperation with Wand 5 e.V.
For the first time in the film and video category the best short film or
video gets awarded. The award in the category new media for the best
internet project is endowed with a prize money.
The audience of the Stuttgarter Filmwinter will chose their favorites from
six film programs - no jury, no criteria such as "artistic integrity" or
"technical perfection" influencing the choice. The voting for best website
will be effected online. In December all information on this voting will be
available on www.filmwinter.de and www.dasding.de.
The two DASDING audience awards for film and video are endowed with 1,000
each. Winners will be chosen from 57 works, which is the preselected rest of
more than 1,300 proposals in this category. Films and videos range from
1-minute-films to elaborate 35mm productions. No advertising or purely
commercially initiated works were admitted. Competition Film / Video
"Your new world will begin like ours as pictures..." (Mike Hoolboom)
The short film competition plays the leading part at the festival and
provides a platform for new brave and experimental productions. 1,300
submission from more than 50 countries were proposed to the Stuttgarter
Filmwinter. This record number underlines the festival's character of an
international platform for innovative and independent media culture. Nearly
60 productions were selected for the six-part program of the international
short film competition.
Important film producers such as the British video artist and movie director
Matt Hulse ("Plot") and the Austrian experimental movie director Dietmar
Brehm ("Rolled eyes, 2nd version") as well as the German experimental movie
director Eva K

DISCUSSION

Re: Re: One Day Left


>
>
> 3. I have had issues as former superuser which included chastisements for
> inactivity based on the "work" involved in maintaining a superuser who do=
esn't
> "contribute" [I didn't publish texts to the webpage because I had a brows=
er
> compatibility issue with rhizome's interface.] There's an opportunity for
> streamlined efficiency, I would guess, in allowing an inactive user's sta=
tus
> to remain the same, as opposed to the unneccesary housekeeping of user
> removal- particularly when a user is an active contributor in other areas.
> What seemed to happen is: I was asked why I didn't publish anything, I
> complained about a very real user bug in the interface, and I was asked to
> leave my position as a superuser, as opposed to having the compatibility =
issue
> worked out. Since it is a voluntary position, I don't see how quotas can =
be
> imposed on any given interested user who shows a refined judgement in what
> gets published and what doesn't.
>
>
> eryk

DISCUSSION

VIRTUAL ART: From Illusion to Immersion--Oliver Grau


------ Forwarded Message
From: Oliver Grau <Oliver.Grau@culture.hu-berlin.de>
Date: Thu, 09 Jan 2003 17:49:04 +0100
Subject: VIRTUAL ART

Dear colleagues, dear friends,

I'm happy to report that my new book is out now.

A good 2003 for all,

Oliver Grau

\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_

VIRTUAL ART
>From Illusion to Immersion
by Oliver Grau
A Leonardo Book published by MIT Press

(January 2003, ISBN 0-262-07241-6, 7 x 9, 360 pp., 89 illus)

"Equally at home in art history, media history, and new media art, Grau
situates immersive image spaces of new media within a rich historical
landscape. A must-read for anyone interested in new media, visual culture,
art history, cinema, and all other fields that use virtual images."

(Lev Manovich, author of The Language of New Media)

"Dismiss Oliver Grau's new book as a German multimedia theorist's scholarly
treatise on art, and you'll miss a great read. Underneath its stald
packaging, Virtual Art: From Illusion to Immersion puts forth the sort of
provocative insights that any Newromancer fan can appreciate."

(WIRED, January 2003)

"The highly ambitious task of locating the latest image technologies within
a wider art-historical context has now been accomplished."

(Friedrich Kittler, author of Gramophone, Film, Typewriter)

Content: Going beyond technical and ahistorical views of media art, Oliver
Grau analyzes what is really new in media art by focusing on recent work
against the backdrop of historic developments. Although many people view
virtual and mixed realities - images of art and science - as a totally new
phenomenon, it has its foundations in an unrecognized history of immersive
images. The search for illusionary visual space can be traced back to
antiquity. Oliver Grau shows how virtual art fits into the art history of
illusion and immersion and shows how each epoch used the technical means
available to produce maximum illusion from Pompeiis Villa dei Misteri via
baroque frescoes, panoramas, immersive cinema to the CAVE. He describes the
metamorphosis of the concepts of art and the image and relates those
concepts to interactive art, interface design, telepresence, biogenetic art
and image evolution. Grau retells art history as media history, helping us
to understand the phenomenon of immersion beyond the hype.

Grau also examines those characteristics of virtual art that distinguish it
from earlier forms of illusionary art and thus shows us what is really new
in media art. His analysis draws on the work of contemporary artists and
groups like ART+COM, Maurice Benayoun, Charlotte Davies, Monika
Fleischmann, Ken Goldberg, Agnes Hegedues, Eduardo Kac, Knowbotic Research,
Laurent Mignonneau, Michael Naimark, Simon Penny, Daniela Plewe, Paul
Sermon, Jeffrey Shaw, Karl Sims, Christa Sommerer, and Wolfgang Strauss.
Grau offers not just a history of illusionary space but also a theoretical
framework for analyzing its phenomenologies, functions, and strategies
throughout history and into the future.

Quotes from the field:

"Grau's Virtual Art opens the door onto a significant new approach to media
analysis by focusing in depth on a particular kind of digital art--the
attempt to create immersive environments. The combination of media
archeology and careful analysis of both the possibilities and limitations
of the impulse to put the viewer inside the artwork will make this book a
valuable resource to both practitioners and theoreticians."

(Stephen Wilson, Professor of Conceptual and Information Arts, San
Francisco State University, and author of Information Arts)

"Oliver Grau expands notions of immersion with a comprehensive overview of
artistic meditations on illusion, presence and space. Using historical and
innovative media-art project examples, he offers multiple perspectives on
the evolution of our world-view. No doubt this volume will be a useful
resource for any serious practitioner and/or theorist engaging the merging
of art, science and technology."

(Victoria Vesna, Chair, Design and Media Arts, University of California,
Los Angeles)

Quotes from the Press

"A key book -- Oliver Grau's art historical study taps into the new virtual
image spaces." (Frankfurter Allgemeine)

"The scope ranges far beyond analogue and digital image techniques; this is
more than a piece of media archaeology." (MEDIENwissenschaft)

"Grau's analysis enriches the current debate on media art and virtual
worlds by providing an historical perspective." (Der Tagesspiegel)

"The parallels revealed are astounding." (Sueddeutsche Zeitung)

Oliver Grau is a new-media art historian and lectures at the Department of
Art History, Humboldt University in Berlin. He is a visiting professor at
the Kunstuniversity Linz and is head of the German Science Foundation
project on Immersive Art in Berlin, also he is developing the first
international data base resource for virtual art. He published widely on
VR-art and lectured in Europe, Japan, Brasil and the US. Oliver Grau is an
elected member of the Young Academy of the Berlin-Brandenburg Academy of
Sciences (BBAW) and the Leopoldina. His research focuses on the history of
illusion and immersion in media and art, the history of the idea and
culture of telepresence and telecommunication, genetic art, and artificial
intelligence.

(please visit:
http://mitpress.mit.edu/catalog/item/default.asp?sid&570CB6-AB47-414B-A780
-1ECA08AAB2D3&ttype=2&tid'14)

********************************
DR. OLIVER GRAU
Kunsthistorisches Seminar
Humboldt University Berlin
Dorotheenstr. 28; 10117 Berlin
fon: +49 (0)30 2093-4295 (direct) - 4288 (secr.)
Fax: +49 (0)30 2093-4209
Oliver.Grau@culture.hu-berlin.de

www.arthist.hu-berlin.de/arthistd/mitarbli/og/og.html
www.diejungeakademie.de
**********************************

------ End of Forwarded Message


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