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: FOR IMMEDIATE RELEASE: "Engaging Characters" at the Art Interactive (Cambridge, MA)


Begin forwarded message:

> From: stephdav@mit.edu
> Date: Mon Jul 14, 2003 2:36:51 PM US/Eastern
> To: stephanied@artinteractive.org, stephdav@alum.mit.edu
> Subject: FOR IMMEDIATE RELEASE: "Engaging Characters" at the Art
> Interactive (Cambridge, MA)
>
> Come meet the Art Interactive's
>
> ENGAGING CHARACTERS
>
> A host of evocative computer-based and robotic characters that react,
> interact, and communicate with gallery visitors.
>
> Participating Artists: Julia Heyward, Toni Dove, Janine Cirincione and
> Michael Ferraro, Marina Zurkow and Julian Bleecker, Claudia Hart and
> Larry Berkow, and Chico MacMurtrie of Amorphic Robot Works, a
> Brooklyn-based collaborative of artists
>
> Curated by Kathyrn Brew
>
> "Engaging Characters" will be on view from July 26 to Oct 5, 2003
>
> Gallery Visiting Hours: Sat and Sun 12-6pm
>
> **Opening Reception: Fri, July 25, 6-9pm**
>
>
> ART INTERACTIVE
> 130 Bishop Allen Drive (one block from Central Square)
> Cambridge, MA | 617.498.0100
>
>
> Founded in 2001, the Art Interactive's mission is to provide a public
> forum that fosters self-expression and human interaction through the
> development and exhibition of art that is contemporary, experimental,
> and participatory.
>
> For complete information, please see the attached press release.
>
> Contact:
> Stephanie Davenport
> Media Coordinator
> 617-818-0162
> stephanied@artinteractive.org
>
>
>

DISCUSSION

Re: resentment...


Hi -- I would say that my nod to the actual enforcement of the Patriot Act
does reflect on the surveilling and repressive political climate we live
and work in -- but it was also tongue in cheek. I understand you're
reading my comment with a careful eye, which I appreciate. But let me just
put this out there -- that if you, or any reader, were to take it as a
serious warning, or reflection of some inside political knowledge -- I
didn't mean it that way.

Marc, I agree with you that the political climate has affected Rhizome
since 2001 -- I think that's totally reasonable. We are all feeling these
forces.

But, let me try to delineate how these conditions are affecting Rhizome.
As far as I can tell Rhizome staff is *no* more conservative than before
(I don't really want to speak for anyone but myself), but perhaps we spend
out time differently. In general, peers here in the States seem to be
focusing energy and time on political mobilization -- especially with the
upcoming presidential election (can't let another one get stolen!). Vis a
vis Rhizome, the latest stats on the news, Friday -- CBS, said that more
than 10% of American non-profits went out of business last year. I know we
have to spend more time on raising money to survive.

I have not heard anyone say though that there is a need to curtail free
speech on Raw... or modify our core principles. And no one approached up
from the Govt. vis a vis Rhizome content. But, as you suggest, I wouldn't
be surprised if people felt like they had to self-censor. It's a scary
time, and in the States the Patriot Act feels real. I mean, after Sept.
11, the White House issued a statement saying Americans should watch what
they say. Literally!! All of the topics you raise -- the economy,
surveillance, repression, politics -- these are conditions in effect --
and not just on Rhizome the organization. I mean, I think many of the
people on the list are also dealing with the more political and economic
issues -- don't you? Aren't we all dealing with this -- everywhere?

So I am glad you're bringing up issues like surveillance and repression --
they're not just the matters of art content. I agree that they are
affecting people, across the board. I would be keen to hear what you think
we should do to recruit more people or be more representative of the net
art community. I am interested in the idea of propogating net art...

I don't want to be negative about a sense of totality or community --
because what am I doing working here if not insisting on some kind of net
art community? But keep in mind that when RHizome started there were a
couple thousand net artists and enthusiasts. Now, the Net is a different
medium. Being a community amid watered-down hugeness has different
challenges. And vis a vis our masculinist vibe -- it's depressing, isn't
it? Rhizome has always been male-dominated, as long as I can remember.
Last year I tried to get a lot of outspoken women to be active on and
interested in Rhizome -- but it didn't work. I guess on some systematic
level, it wasn't organic.

> Hi Eryk & Jim,
>
> The unrequited mutualism between Rhizome and the Global, creative Net
> community...
>
> What are the real reasons for Rhizome becoming more conservative?
>
> There are other issues that are not openly discussed on here regharding
> Rhizome's changes since late 2001. Perhaps the non collective nature of
> Rhizome today is more to do with the political climate in the world.
>
> It is not a coincidence that Rhizome's changes are also in keeping with
> the political shifts regarding its own cultural locality and nationhood,
> its gradual dumbing down of being involved openly with artists who are
> contextually political in their net art-work and moving (even more)
> towards consciously advocating self referential net art, a natural
> side-step towards a more institutionalised role, is worrying.
>
> Since the introduction of the 'Patriot Act October' on 26th 2001 by the
> Bush administration (as everyone knows in the whole wide world) are a very
> nasty bunch of rich people who kill and maim lives. 'The FBI and CIA can
> now go from phone to phone, computer to computer without demonstrating
> that each is even being used by a suspect or target of an order. The
> government may now serve a single wiretap, FISA wiretap or pen/trap order
> on any person or entity nationwide, regardless of whether that person or
> entity is named in the order. The government need not make any showing to
> a court that the particular information or communication to be acquired is
> relevant to a criminal investigation. In the pen/trap or FISA situations,
> they do not even have to report where they served the order or what
> information they received.'
> http://www.eff.org/Privacy/Surveillance/Terrorism_militias/20011031_eff_usa_patriot_analysis.php
>
> Rachel's suggestion to all those who participate with Amy Alexander's
> excellent piece called 'PPMMM' in the latest Net Art News felt significant
> with her added warning 'The artist also recommends sending your slogans to
> Washington, but considering the reach and force of the Patriot Act, we
> suggest users proceed with caution'. Which is an honourable suggestion in
> view of how after Sept 11, America's own people are even considered
> potential enemies.
>
> I wrote a brief article days after Sept 11 called 'Spies on the net -
> thought control- denial - and of course another stupid war'.
>
> 'Beware everyone, for we are going to experience sweeping control laws,
> enforcing non privacy on the net and in our communities. Using the masses
> emotional grief as a barometer. Emotional blackmail (a cruel weapon, also
> used by religions to gain control over others) will be used to halt
> creative freedom and valid information, correspondence between individuals
> and organisations'.
>
> So how significant is the force of the Patriot Act? How much has political
> pressure influenced todays Rhizome? Has Mark Tribe been approached by a
> government ape, telling him to hang back with the bruts?
>
> Is there a self censorship happening on Rhizome?
>
> Are we all our discussions being monitored by those who would rather us
> just talk about how nice America is, and coding, abstraction is cute?
>
> the Patriot Act must have an influence on the way that Rhizome acts. This
> could also mean that art that is linked to America's empire like
> activities and the war might not be supported or promoted via Net Art News
> as often, or sometimes not accepted onto the database. Creating an
> environment that is not conducive to questioning structural elements in a
> political sense.
>
> So is Rhizome more conservative now? Less inclined in supporting those who
> the roles, purposes of corrupt politicians, military and backward
> organizations and institutions that control what we all see?
>
> There was a very good comment posted by Geert, not sure if many read it or
> saw it. He said 'If there is to be a true discussion on digital art, it
> should be about the way art should or could propogate through the art
> community'. It would serve any controlling government organization well if
> we were to all talk about art in the micro sense and ignore the bigger
> picture, like why that wall is there and for whom that picture really
> hangs on the walls for. This is all part of art thinking, not just the
> object.
>
> I still think that Rhizome has a lot to offer, that is why I am still
> here, and I know that many users on this list also feel this way.
>
> We are living in very strange and emotionally backward and violent times -
> everyone knows that the attack on Iraq was wrong. Yet, no one can do
> anything about it. Who can police those who are more keen in helping
> themselves and more keen on feeding corporate greed?
>
> And if everyone, still thinks that them being spied upon by their
> governemnts is not really happening and is based on poranoid delusions;
> I'd say that they are naive not to know what is actually at stake for all
> concerned.
>
> There are many digital/web/net artists outside of America's borders,
> outside of Rhizome's borders (and within) who did and still do wish for
> something more progressive, integrated, consciously, actively
> contributing, working with and networking for community based intentions
> in a more openly global way, less centralized, more decentralized.
>
> I kind of feel that Rhizome is much more of a (masculine orientated)
> business venture now. Money seems to be its main goal, also seen by
> outsiders as supporting its own (American based) peer related colleagues,
> rather than the creative Internet community as a whole. It is no longer
> rhizomatic, more like a weed that grows in locality to its own habitual
> environment. In the UK we have an organizational body that follows via
> protocol called the 'trades description act'. If it was based here in this
> country there would be in trouble for selling a product that does not
> reflect what it says on the label of the tin.
>
> So is Rhizome censored?
> And by whom?
> Is this one reason for the changes?
>
> marc
>
>
>
>
>
>
>
>
>
>>
>> The resentment issue is going to stick around for a while, because no
>> one
>> (by "no one" I mean Mark Tribe) has really addressed it, and no one
>> (Mark
>> Tribe) seems interested in addressing it. I am sure they have a steady
>> increase in new subscribers, though I am at a loss to explain how it
>> would
>> happen- (closed circuits don't invite expansion).
>>
>> -e.
>>
>> (Mark Tribe)
>>
>>
>>
>>
>> ----- Original Message -----
>> From: "marc.garrett" <marc.garrett@furtherfield.org>
>> To: <list@rhizome.org>
>> Sent: Saturday, July 12, 2003 3:38 PM
>> Subject: RHIZOME_RAW: resentment...
>>
>>
>> > Found this on the Syndicate list..
>> >
>> > seemjs like there is a lot of resentment out there...
>> >
>> > marc
>> > look below
>> >
>> > In case you've been meaning to renew your Rhizome membership
>> > NO have not thought about it not even once but thanks for proving that
>> you
>> > are nothing but a propaganda and scrouge dog-e digger from the
>> netherworld
>> >
>> >
>> > but just haven't gotten around to it yet, this is a quick note
>> >
>> > will never get around to it would rather spend five dollars
>> toiletpaper
>> > practical POOPY POOP
>> >
>> > to say that we'd love to have you back.
>> >
>> > No you would not you want my money Go Get Big AmeriKan Grant That
>> Supports
>> > The Big AmeriKan Arts ha hahahhahaa ___AmeriKa Does Not Support The
>> Arts
>> > !!!!!!
>> > we have principles like L.Armstrong NO RHIZOME!!!!!!!!!!!
>> >
>> > hah aha ahah ahahah ahah aha hah aha ha all day long
>> >
>> >
>> >
>> > + 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: n.paradoxa: international feminist art journal


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Begin forwarded message:

> From: "e-Flux" <info@e-flux.com>
> Date: Wed Jul 9, 2003 9:59:30 PM US/Eastern
> To: "rachel@rhizome.org" <rachel@rhizome.org>
> Subject: n.paradoxa: international feminist art journal
> Reply-To: "e-Flux" <service@e-flux.com>
>

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Begin forwarded message:

<excerpt><bold>From: </bold>"e-Flux" <<info@e-flux.com>

<bold>Date: </bold>Wed Jul 9, 2003 9:59:30 PM US/Eastern

<bold>To: </bold>"rachel@rhizome.org" <<rachel@rhizome.org>

<bold>Subject: </bold>n.paradoxa: international feminist art journal

<bold>Reply-To: </bold>"e-Flux" <<service@e-flux.com>

</excerpt>
--Apple-Mail-16-178375741--

DISCUSSION

Extension to Eyebeam's call for Production Artist Workshop Applications


---------------------------- Original Message ----------------------------
Subject: Posting complications
From: "Melanie Crean" <melanie@eyebeam.org>
Date: Wed, July 9, 2003 6:12 pm
To: "Rachel Green" <rachel@rhizome.org>
--------------------------------------------------------------------------

------------

Extension to Eyebeam's call for Production Artist Workshop Applications

Eyebeam's Moving Image Division announces an extension to its open call
for applications to the annual 2003 - 2004 Production Artists Workshop
(PAW), now due at Eyebeam's Dumbo offices on Wednesday, July 23rd at 5:00
pm.

The PAW program provides vital production experience to recent graduates
within one year after graduation from film, video and computer art
programs. Production Artists are provided with a salary and unlimited
access to the MID Studio during their one-year term. Throughout their
stay, PAW artists benefit from instruction from lectures, critiques,
studio visits and interaction with graphic specialists from MID's Advisory
Council. They split their time between developing their own moving image
work, and interacting with senior artists on larger projects, creating
work for commissions and for the MID Studio Co-op. Production Artist work
is presented publicly at the end of their one-year term. The division
hires four artists each year for the program, concentrating in four
different areas: technical direction, compositing/texture/lighting,
modeling, and animation.

To apply, please send a completed application form
(http://www.eyebeam.org/divisions/mimage_paw.html), your resume, and a
copy of your VHS or DVD portfolio reel by July 23rd (not a postmark
deadline) to:

Melanie Crean
Director of Moving Image
45 Main St. 12th floor
Brooklyn, NY 11201

Final candidates will interviewed in August for a September start date.

Pease address any questions to information@mid.eyebeam.org

DISCUSSION

Fwd: Ars Electronica 2003 - 2nd Announcement


Begin forwarded message:

> From: Ars Electronica Center <announce@aec.at>
> Date: Wed Jul 2, 2003 11:49:30 AM US/Eastern
> Subject: Ars Electronica 2003 - 2nd Announcement
> Reply-To: announcement@aec.at
>
> CODE - The Language of Our Time
> Code=Law, Code=Art, Code=Life
> Ars Electronica 2003
> September 6-11
> Linz, Austria
> www.aec.at/code
> -----------------------------
>
> Ars Electronica 2003 - 2nd Announcement
>
> CONTENTS
> .............................
> 1. Ars Electronica 2003 - Program online
> .............................
> .............................
> 2. CODE Symposium
> .............................
> .............................
> 3. Exhibitions
> .............................
> .............................
> 4. Events, Concerts & Performances
> .............................
> .............................
> 5. Electrolobby
> .............................
> .............................
> 6. Prix Ars Electronica
> .............................
> .............................
> 7. CODE Campus
> .............................
> .............................
>
> You are reading the second issue of the Ars Electronica 2003
> newsletter, giving you an overview of this years program.
>
> .............................
> 1. Ars Electronica 2003 - Program online
> .............................
>
> The detailed Ars Electronica 2003 festival program is online now:
> www.aec.at/code
>
> The website www.aec.at/code 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.
>
>
> .............................
> 2. CODE Symposium
> .............................
>
> The several panels of CODE Symposium being presented September 7-11
> will provide detailed discussions on varied aspects of the festival
> theme CODE - The Language of Our Time.
> The first two days are dedicated to the rather theoretical
> considerations, in the following panels the presentation of artistic
> ideas and projects moves to the top of the agenda. Protagonists of a
> software-based mode of artistic practice present their work and
> discuss how they utilize and deal with software.
> Key topics will include the role of industry standards, the emergence
> of artistic trends as a consequence of program features, efforts to
> achieve artistic autonomy, and the aesthetics of codes.
>
> Participants of the Ars Electronica 2003 CODE symposia include:
> scientist Peter J. Bentley, Marc Canter, founder of Macromedia, author
> Scott DeLahunta, German media theoretician Friedrich Kittler, Roman
> Verostko, famous for his 'epigenetic art' concept, John Warnock,
> co-founder of Adobe Systems, New York based gallery founder Steve
> Sacks, Pierre Levy, influential theoretician of cyberculture, artists
> John Maeda, Golan Levin, Casey Reas et al.
>
>
> .............................
> 3. Exhibitions
> .............................
>
> Ars Electronica presents several exhibitions as a forum for the
> artistic perspective on the festival theme.
> The CODE Exhibition in the Brucknerhaus shows works of international
> artists whose concepts focus on code and utilize software as a medium
> of the artistic production.
> Ars Electronica Center Exhibition presents new projects and
> installations in the museum and in the surrounding Ars Electronica
> Quarter. From the new flying machine, animations for the elevator of
> the museum to projects which provoke the visitors's interaction with
> the installation.
> The O.K Centrum fur Gegenwartskunst is again the scene for Cyberarts
> 2003, the exhibition of the winning projects in the category
> 'Interactive Art' of this year's Prix Ars Electronica.
>
>
> .............................
> 4. Events, Concerts & Performances
> .............................
>
> Concerts, Events, Performances around the festival thema 'CODE - The
> Language of Our Time'.
> At various scenes - the Ars Electronica Center, Brucknerhaus,
> Donaupark, ORF Oberosterreich, O.K Centrum fur Gegenwartskunst,
> Posthof and an industrial setting on the periphery of the city - the
> festival events will take place from September 6 til 11. The events
> range from the great concerts 'Principles of Indeterminism' and
> 'Digital Musics in Concert', audiovisual performances, the 96-hour
> soundtrack on the riverbank space of the Danube in the "OMV
> Klangpark," movie programs in the 'Movieline"and the "Electronic
> Theatre' to live broadcasted radio programs. A top-line part is the
> Prix Ars Electronica Gala with the presentation of the Golden Nica
> Awards 2003.
>
>
> .............................
> 5. Electrolobby
> .............................
>
> The electrolobby is not an exhibition space for projects; instead,
> it's a meeting place, a forum that takes up the question of the design
> and mediation of the transitory, process-oriented variants of digital
> art to be found behind the monitors, in the networks and between the
> program's lines of digital code. With the electrolobby Kitchen, this
> festival within a festival has created a discourse domain of its own
> in which the electrolobby artists put their positions and works up for
> discussion and turn a critical eye to what's been going on at the
> festival.
>
>
> .............................
> 6. Prix Ars Electronica
> .............................
>
> The Prix Ars Electronica is the platform on which cyberartists working
> in a wide range of fields all over the world get together each year.
> The presentation of the results in the form of exhibitions,
> discussions with the artists, performances, concerts and screenings
> presented in conjunction with the Ars Electronica Festival provides a
> highly concentrated overview of current positions in the cyberarts.
>
>
> .............................
> 7. CODE Campus - Media-Art-Education
> .............................
> The Department of Media & Art at the University of Art, Media and
> Design in Zurich defines itself as a laboratory and proving ground for
> the artistic use of analog and digital media. The results of a
> collaborative effort on the part of this Swiss academy and the
> University of Art in Linz are showcased in an exhibition focusing on
> the influence exerted by and the consequences of digitization in the
> arts. Works by undergraduates, 2003 master's degree projects, and work
> in progress from various fields of instruction and research will be on
> display. An exhibition that substantiates the exciting future of media
> art.
>
>
> --------------------------------------------------------------
>
> Ars Electronica 2003
> Organization:
> Ars Electronica Center Linz and ORF - Austrian Broadcasting
> Corporation, Upper Austrian Regional Studio
> Co-organizers: Brucknerhaus Linz, O.K - Center for Contemporary Art
>
> Concept & Artistic Direction:Gerfried Stocker, Christine Schopf
>
> Contact:
> Ars Electronica Center
> Hauptstrasse 2
> A-4040 Linz
> Austria
> festival@aec.at
> www.aec.at/code
>
>
> Sponsors of Ars Electronica 2003:
> SAP AG, Gericom, Telekom Austria
> Bank Austria Creditanstalt, Quelle AG, Hewlett Packard, Microsoft,
> Oesterreichische Brauunion, voestalpine, FESTO,
> Sony DADC, Siemens AG
> Austrian Airlines, Lufthansa, Spring, Opel Guenther
>
> Sponsors of Prix Ars Electronica 2003:
> The Prix Ars Electronica 2003 is sponsored by Telekom Austria and
> supported by BAWAG/P.S.K. Group, voestalpine, SONY DADC, Gericom, the
> City of Linz and the Province of Upper Austria.
>
> Additional support by Austrian Airlines, Lufthansa, Casinos Austria,
> Poestlingberg Schloessl, Oesterreichischer Kulturservice
>
>
> --------------------------------------------------------------
> 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
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CURATED EXHIBITIONS (1)