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

Fwd: [oldboys] call for participation


Begin forwarded message:

> From: Cornelia Sollfrank <cornelia@snafu.de>
> Date: August 5, 2004 1:29:09 PM EDT
> To: oldboys@lists.ccc.de
> Subject: [oldboys] call for participation
> Reply-To: oldboys@lists.ccc.de
>
> Women artists and writers are invited to participate in an online event
> addressing issues of gender, racial and economic biases resulting in
> systemic violence against women and minorities.
>
> This project arises from the unseemly juxtaposition of a "war on
> terror"
> with the every day realities faced by women living in cultures that
> enforce female circumcision, do not give equal value for to equal work
> based on cultural bias, tacitly accept violent domestic situations, use
> sexual intimidation as a military tactic and fear of reprisal as a
> cultural control.
>
> The name, gender[f], designates a programmatic function. The function
> o
> gender o holds an unlimited, presently undefined array o [f] o the=

> issues
> and/or representations of women in society.
>
> This call is addressed to women of different geographical, disciplinary
> and theoretical backgrounds, who are invited to make a statement on the
> subject by creating an object of art, creative writing or critical
> essay
> or to submit already existing projects related to the subject. (urls
> are
> acceptable, space for net-projects is available.)
>
> Submission deadline is September 10, 2004. Work should be in digital
> format, web-ready preferred, but not necessary. An accompanying event
> in
> Detroit is in the planning stages.
>
> gender[f] is dedicated to the the over 400 murdered and disappeared
> women
> of Juarez who worked in the maquiladoras of Juarez.
>
> Please direct responses to dking@markszine.com.
> --
> --
> ____ ____ ____ ____ ____ ___ ___ ___
> ||a |||r |||t |||w |||a |||r |||e |||z || .org
> ||__|||__|||__|||__|||__|||__|||__|||__||
> |/__|/__|/__|/__|/__|/__|/__|/__|
>
> take it and run!
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: oldboys-unsubscribe@lists.ccc.de
> For additional commands, e-mail: oldboys-help@lists.ccc.de
>

DISCUSSION

Fwd: ISEA2004: MAGAZINE ONLINE


Begin forwarded message:

> From: iseainfo@lume.fi
> Date: August 2, 2004 12:15:16 PM EDT
> To: rachel@rhizome.org
> Subject: ISEA2004: MAGAZINE ONLINE
>
> ISEA2004 Newsletter, August 2, 2004
> -----------------------------------------------------------------------
> ----
>
>
>
> ISEA2004: SONIC, WEARABLE & WIRELESS EXPERIENCES
>
>
>
> -----------------------------------------------------------------------
> ----
>
>
> Dear friends,
>
> ISEA2004 <http://www.isea2004.net> is approaching. The symposium will
> take
> place in two capital cities and on the Baltic Sea in exactly two weeks,
> from August 14th till 22nd. The kick-off weekend of the festival will
> be
> spent at Koneisto <http://www.koneisto.com> and aboard the ISEA2004
> ferry
> with a stunning line-up on 3 stages over 2 nights:
>
> 40 DJ & live acts
> 25 installations
> workshops
> network meetings
> talks and debates
> mobile & wifi gaming
> media art ferry tv
> interactive karaoke & movies
> sonic pool
> thematic buffet dinners
>
>
> After two sessions on the ferry, INTERFACING SOUND and NETWORKED
> EXPERIENCE, the programme continues in Tallinn and Helsinki with main
> themes WEARABLE EXPERIENCE and WIRELESS EXPERIENCE. Together, these
> different components of the event will form a rich and vibrant
> programme
> making ISEA2004 perhaps one of the most ambitious events in its field.
> ________________________
>
> ISEA2004 MAGAZINE ONLINE
> ________________________
>
> A comprehensive view into ISEA2004 programme was published last week.
> ISEA2004 magazine features artist interviews, programme highlights,
> plenty
> of pictures and venue information. The magazine is divided into three
> sections: SEA for the ferry trip (August 15-17), TAL for the Wearable
> Experience in Tallinn (August 17-18) and HEL for the Wireless
> Experience in
> Helsinki. You can read the tabloid-size publication online or download
> it
> at http://www.isea2004.net > LATEST NEWS.
> ____________________________________________
>
> GOOD NEWS FOR LATE BIRDS: DEADLINE EXTENSION
> ____________________________________________
>
> As a result of a meeting with Silja Line today, having considered the
> wishes of those returning to work after vacations and hoping to join
> the
> cruise still, we were able to extend the registration schedule. The
> remaining cabins will be sold this week, the ultimate deadline being
> August
> 10th, after which no ferry bookings are possible. To book tickets, go
> to
> http://www.isea2004.net > SPECIAL OFFERS. You can also contact ISEA2004
> marketing manager Mika Minetti for arrangements <mika@isea2004.net>.
>
> ___________________
>
> ISEA2004 ORGANISERS
> ___________________
>
> m-cult, centre for new media culture <http://www.m-cult.org>, is the
> main
> organiser of ISEA2004, coordinating the programme and managing the
> event
> across the cities and on the ferry. Other organisers in Helsinki
> include
> the Museum of Contemporary Art Kiasma <http://www.kiasma.fi> and Media
> Centre Lume <http://www.lume.fi>. In Tallinn, the main partner Estonian
> Academy of Arts <http://www.artun.ee> works in collaboration with the
> Center for Contemporary Arts <http://www.cca.ee>. ISEA2004 is
> produced in
> association with the Inter-Society for Electronic Art <
> http://www.isea-web.org>. Organising partners are Koneisto festival <
> http://www.koneisto.com> and Silja Line.
>
>
> See you in two weeks!
> ISEA2004 crew
>

DISCUSSION

Ars Electronica 2004 - TIMESHIFT Symposium


Begin forwarded message:

> From: Ars Electronica Center <announce@evil.aec.at>
> Date: July 27, 2004 9:21:34 AM EDT
> Subject: Ars Electronica 2004 - TIMESHIFT Symposium
>
> Timeshift - The World in Twenty-Five Years
> Ars Electronica 2004
> Linz, Do 2. - Di 7. September
> www.aec.at/timeshift
> Sender: announce@evil.aec.at
> Precedence: bulk
> Reply-To: announcement@aec.at
>
>
>>>> 3rd Announcement: TIMESHIFT Symposium (Conferences II)
> You are reading the third issue of the Ars Electronica 2004
> newsletter, providing information about the program of this year's
> festival, TIMESHIFT - The World in 25 years.
>
>
>>>> TIMESHIFT Symposium
> This year's Ars Electronica Symposium features four panels around the
> theme of "TIMESHIFT-The World in 25 Years." These panels,
> guest-curated by Michael Naimark, will proceed along a dramatic
> succession from the enthusiastic to the critical to the personal to
> the imaginative. In order to combine seasoned experience and fresh
> perspective,each panel will consist of four senior pioneers and one
> young commentator. The pioneers are prominent experts who have made
> significant contributions in fields relating to art, technology, and
> society. The commentators are talented young artists and researchers
> assigned to present a historical overview of the panel's topic,
> drawing from the Ars Electronica's vast 25-year archive of writings,
> images, and videos. The goal is to use the rich history of Ars
> Electronica to stimulate dialogue about the future.
>
>>> TIMESHIFT Symposium I - PROGRESS
> The first panel, PROGRESS, is about the promise of science and
> technology. It is intended to express the dreams, hopes, and desires
> made possible by advances in computer and cognitive science, digital
> media, and bio and nano technologies.
>
>>> TIMESHIFT Symposium II - DISRUPTION
> The second panel, DISRUPTION, is about error, accident, and dissent.
> It is intended to reveal how the value of intent is relative and how
> counter-force candominate in an imperfect world where things don't
> always go as planned.
>
>>> TIMESHIFT Symposium III - SPIRIT
> The third panel, SPIRIT, is about beauty, passion, and inner drive. It
> is intended to refocus our attention from global to self and to
> explore such issues as wellness,pleasure, family, and mortality.
>
>>> TIMESHIFT Symposium IV - TOPIA
> The final panel, TOPIA, is specifically about the world in 25 years.
> It will present scenarios around a wide variety of topics relating to
> art, technology, and society.It is intended to be detailed, inventive,
> and audacious.
>
>
>>> Participants
> In light of the multifaceted history of Ars Electronica, the Timeshift
> Symposium will host a dialog on future developments in art, technology
> and society. Attendees will include representatives of different
> generations of theoreticians, scientists, scholars and practitioners
> as well as interested laymen.
> Among the speakers are:
> - Peter Weibel, artist, theoretician, former artistic Director of Ars
> Electronica, currently Director of the ZKM in Karlsruhe
> - Marvin Minsky of the MIT Media Lab, pioneer in robotics and AI
> - Astrophysicist and theoretician Roger Malina
> - Sherry Turkle, a leading thinker in the area of computer-human
> interaction
> - Stewart Brand, pioneer in the field of Web-based communities (e.g.
> The Well)
> - Japanese "star blogger" Joichi Ito
> - Joan Shikegawa of the Rockefeller Foundation
> - Esther Dyson, journalist and former chair of the ICANN Internet
> authority
>
>>>> Detailed Festival Program online
>
> The detailed Ars Electronica 2004 festival program is online now.
> The website www.aec.at/timeshift is providing regular and detailed
> updates on the festival theme, program details, news and background
> features as well as information about artists, speakers and
> performances until the festival in September.
>
>
>
>
>
>
> Overview Announcements
>
> 1st Announcement (July 2004): Ars 25 Specials
> 2nd Announcement (July 2004): Language of Networks (Conferences
> I)
> 3rd Announcement (July 2004): TIMESHIFT Symposium (Conferences
> II)
> 4th Announcement (July 2004): Conferences III
> 5th Announcement (August 2004): Exhibitions I
> 6th Announcement (August 2004): Exhibitions II
> 7th Announcement (August 2004): Events I
> 8th Announcement (August 2004): Events II
> 9th Announcement (September 2004): Electrolobby
>
>
>
> Sponsors of Ars Electronica 2003:
>
> Stadt Linz, Land Oberosterreich, Bundeskanzleramt/Kunstsektion
>
> SAP AG, Telekom Austria, voestalpine, Gericom, Mitsubishi Electric,
> Siemens AG, FESTO, O1, Microsoft, Mercedes Benz, Sony DADC, Casino
> Linz.
>
> Additional Support: 3com, Cancom, Frank&Partner, Lexmark,
> Postlingbergschlossl, VS Fickenscher, BMWA, BMBWK, Innovatives
> Osterreich, M-AUDIO, Jindrak, Kulturkontakt Austria.
>
> --------------------------------------------------------------
> Please do not reply to this message.
> If you want to remove yourself from this mailing list,
> you can send mail to <majordomo@aec.at>
> with the following command in the body of your email message:
> unsubscribe announcement
> To remove an address other than the one from which you're sending
> the request, give that address in the command:
> unsubscribe announcement email@address.xyz
> --------------------------------------------------------------
>

DISCUSSION

Fwd: digitalcraft.org | press release 26th July 2004


Begin forwarded message:

> From: "digitalcraft.org" <gabriele.reinartz@digitalcraft.org>
> Date: July 26, 2004 3:02:18 PM EDT
> To: rachel@rhizome.org
> Subject: digitalcraft.org | press release 26th July 2004
>
>
>
>  
>
> Press Release
>
> I love you [rev.eng]
> The Aesthetics of Computer Viruses. German Exhibition on
> International Tour
>
> Providence (USA) / Copenhagen: The return of “Made in Germany” - “I
> love you [rev.eng]”
> (rev.eng = reverse engineering), the extension of the successful
> exhibition in Frankfurt devoted to the phenomenon of computer viruses,
> is going on an international tour. It can be seen from September 11th
> to October 4th at the renowned private Brown University in Providence,
> Rhode Island, USA, and then from October 7th to November 14th in the
> Museum for Communication in Copenhagen, Denmark.
>
> Nowadays computer viruses are an integral part of our computerised
> everyday life. The damage to national economies caused by the more
> than 90,000 viruses that have already appeared world-wide runs into
> many billions. The independent US research institute Computer
> Economics puts the damage in the case of “I love you” in 2001 alone at
> 8.75 billion US $. But not all computer viruses are harmful. Computer
> viruses can also result from experimentation with (programming)
> language. “I love you [rev.eng]” is the first exhibition world-wide
> dedicated to the phenomena of computer security and computer viruses,
> and takes up both these aspects to carry out a controversial
> experiment with contemporary culture that goes far beyond current
> vehement debates on hacking.
>
> “I love you [rev.eng]” is divided into political, technical and
> historical areas of investigation and focuses on the controversial
> positions of security experts and hackers, of net artists and
> programmers, of literature experts and code poets. What actually is a
> computer virus? Who creates them, and why? What sort of world is
> hiding behind these everyday phenomena? The exhibition provides
> background information, presents artworks, and reveals the role of
> computer viruses as a destructive force and economic threat as well as
> an inspiration for creative art. “I love you [rev.eng]” is conceived
> and presented by the cultural organisation digitalcraft.org based in
> Frankfurt, Germany.
>
> “digitalcraft.org sees itself as a future oriented model for a
> changing understanding of cultural communication,” says Franziska
> Nori, the leader of the digitalcraft.org team. “The big question being
> raised by the exhibition as to what digital culture is today and will
> become in the age of the information society doesn't only determine
> contemporary artistic and cultural production, but is also intended to
> motivate cultural institutions to rethink their practice and their own
> role.”
>
>
> What can visitors to the "I love you [rev.eng]“ exhibition look
> forward to?
> ▪ Computer viruses in close-up. At isolated terminals (“in the
> zoo”), visitors can activate infected data with viruses like “Sasser”
> or “Suicide” and force computers to close down. A presentation of the
> 30 year history of computer viruses and their technical development
> offers background information on the development of this phenomenon
> right up to the present day.
> ▪ Virus outbreaks in real time. An interactive 3D game world has
> been developed specially for the exhibition to allow visitors, by
> operating a joystick, to experience in real time the otherwise
> invisible processes involved in a global virus outbreak. Visitors can
> also click together their own viruses using a computer with so called
> virus construction kits like the ones often used by budding hackers to
> flood the Internet with ever-new viruses.
> ▪ The web artists 0100101110101101.ORG and epidemiC present the
> computer virus “biennale.py”, which, over and above being a
> self-reproducing program, has been declared as a social work of art.
> The work “The Lovers” by the British artist Sneha Solankis creates,
> using two mutually-infected computers, an analogy between the
> distorted communication between the computers and that between lovers.
> ▪ Insights into the heterogeneous culture of hackers with a broad
> spectrum of film material created in the scene itself, including
> “Freedom Downtime” by the New York hacker community 2600, and “Hippies
> from Hell”. Historical and current material provide insights into the
> development of the scene from its origins in the late 50s, when the
> term “hacker” was a neutral word for students at the MIT who lived out
> their fascination for logical tasks and enthusiasm for understanding
> the new computers, to the criminalisation of what is now known as the
> VX Scene, to the commercialisation of the phenomenon, supplemented by
> a wealth of interviews in which various virus authors talk about their
> motives.
> ▪ The aesthetics of the source code. Apart from its pure
> functionality, a program code (which computer viruses are based on,
> just like any other computer program) can also be an aesthetic and
> artistic creation. “Obfuscated C Codes” are examples of such highly
> virtuoso programming. The exhibition presents two exceptional
> contributions from the “International Obfuscated C Code Contest” that
> has been held regularly since 1984, the three-dimensional flight
> simulator by C. Banks (1998) and the Saitou.c Code by Don Yang (2000),
> a program with a graphical layout that generates a set of mutually
> reproducing programs.
> ▪ Program code as language. Here, comparisons are drawn between
> traditional poetry and contemporary code poetry. The unbroken line
> from the Carmina Figurata of antiquity and the Middle Ages via the
> concrete poetry of the 19th Century to modern poets and contemporary
> code poets show a coherence of form that reveals the source code as a
> new material for contemporary poetry.
> ▪ Internet security. Security concepts and current methods for
> preventing global attacks on the network are presented for an
> interested audience.
>
> The burning actuality of this subject in its economic and social
> dimensions is demonstrated with the cooperation of experts from the
> Brown University's Watson Institute for International Studies and
> researchers from Symantec, the market leader in internet security. At
> both locations, the exhibition will be complemented by symposiums, in
> the USA with the theme “The Power and Pathology of Networks”.
>
> The cultural organisation digitalcraft.org is taking up with this
> project the challenge of exploring complex virtual phenomena for an
> interested public and presenting them in a visual way. “I love you
> [rev.eng]” (rev.eng = reverse engineering) is the revamped and
> expanded version of the initial exhibition which was successfully
> shown in June 2002 in the Museum for Applied Art in Frankfurt and in
> February 2003 at the “transmediale.03” in Berlin.
>
> Length of the press release 5.481 characters (without blanks).
>
> Further information on all exhibits, the digital version of the
> exhibition catalogue and extensive pictorial material can be found on
> the project's website www.digitalcraft.org/Iloveyou (+ press section)
> or direct from:
>
> Dr. Gabriele Reinartz
> PR and Kommunikation
> Phone: +49 (0)171 / 8 34 56 48
> Fax: +49 (0)69 / 48 00 61 32
> E-Mail: gabriele.reinartz@digitalcraft.org
>
> www.digitalcraft.org
> www.infopeace.org
> www.watsoninstitute.org
> www.ptt-museum.dk
> www.symantec.com
>
> Brief profile of digitalcraft.org
> digitalcraft.org started in 2003 as a spin-off of the “digitalcraft”
> section of the Museum for Applied Art in Frankfurt am Main
> (2000-2003). Its task was to research and document fast moving trends
> in everyday digital culture and present them to a wide public. Since
> 2003, digitalcraft.org has been an independent cultural organisation
> under the direction of Franziska Nori. Its work includes
> interdisciplinary exhibition projects such as “adonnaM.mp3” (2003) on
> the phenomenon of file sharing, “Origami Digital” (2003) on the
> digital demo scene, public lectures and publications, and advising
> cultural institutions and museums. The subjects it takes up reflect
> the rapid development in communications technologies and methods and
> their significance for modern society.
>
> Brief profile of the Watson Institute for International Studies
> Brown University in Rhode Island is one of the most renowned private
> Universities in the USA. One of its associated institutes is the
> Watson Institute for International Studies, named after its founder,
> which is dedicated to interdisciplinary studies. Under the direction
> of Prof. James Der Derian, the “Information Technology, War and Peace
> Project“ has been started up to make a targeted analysis of the
> potential impacts of network structures in the globalised society. In
> September, “InfoTechWarPeace”, a new, one-year research project, is
> starting up with the heading, “The Power and Pathology of Networks”.
> The central matters it will be dealing with involve analysis of the
> questions: What new forms of global security and governance are needed
> to manage the potential, allocate the resources, and reduce the risks
> of networks? How do we assess the dangers of global interconnectivity
> (networked terrorism, computer viruses, pandemics) against the vaunted
> benefits (increased transparency, higher productivity, global
> interdependence)? The research project will be inaugurated with a
> symposium and the “I love you [rev.eng]” exhibition.
>
>
>

DISCUSSION

Fwd: CALL FOR SUBMISSIONS


Begin forwarded message:

> From: Digital Art Projects <info@digitalartprojects.org.uk>
> Date: July 27, 2004 8:36:10 AM EDT
> To: WORLD.WIDE.VISION@idx164.idx.net
> Subject: CALL FOR SUBMISSIONS
>
> This is an invitation to collaborate in
>
> FIELD OF VISION: NEW YORK
>
> @
> The Lab Gallery
> New York
> 13 - 18 September 2004
>
> DESCRIPTION
> FIELD OF VISION: NEW YORK is a combined internet / live art event
> about New York. Artists and non-artists worldwide are invited to send
> their work for inclusion by e-mail. Images will be printed out postcard
> size and assembled on location into a billboard format collage.
>
> CRITERIA
> We are looking for images that represent how you see New York - not
> necessarily cityscapes and scenes, but anything that springs to mind in
> relation to the place. About 300 images will be selected.
>
> MEDIA
> Photographs, pictures downloaded from the internet or magazine
> cuttings,
> small artworks for example paintings, scanned objects, drawings,
> collages
> and electronically generated imagery are all acceptable but must be
> digitised and sent as an e-mail attachment.
>
> GUIDELINES
> - You can submit any number of works
> - Send a separate e-mail for each image
> - File format: jpeg, gif, png
> - File size: max 1 megabyte
>
> If you wish to be credited include your name and city/country.
> Successful entries will be notified by e-mail and included
> on the project website.
>
> --------------------------
>
> SEND TO
>
> ny@field-of-vision.net
>
> DEADLINE
> 8 September 2004
>
> --------------------------
>
> FURTHER INFORMATION:
>
> ENGLISH: http://www.field-of-vision.net
>
> ESPANIOL: http://www.campo-de-vision.net
>
> DEUTSCH: http://www.gesichtsfeld.net
>
> OR E-MAIL: info@digitalartprojects.org.uk
>
> ORGANISING ARTISTS:
> Paul Dacey / USA
> Alison Dalwood / UK
> Stephan Hausmeister / D / UK
> Iraxte Hernandez Simal / E
> Chapman Kuo / ROC
> Richard Purdy / USA
> Andrey Vrabchev / BG
> Michael Wright / UK.
>
> FIELD OF VISION is a series of events initiated by
> DIGITAL ART PROJECTS
> with research funding assistance from the
> Faculty of Art and Design,
> University of Hertfordshire / UK
>
> (info@digitalartprojects.org.uk)
>


CURATED EXHIBITIONS (1)