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

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)

Re: A Generative Psychogeographical experiment

what was this like? anyone on raw participate?

Wilfried Hou Je bek <wilfriedhoujebek@yahoo.com>
Keywords: community, body
On Sunday the 7th of July, 15.00 hours starting from the Jaarbeursplein, Utrecht, The Netherlands; Social Fiction will hit the streets again with a new application of the generative psychogeographical principle,
please look at our site
for more information.
This experiment takes place as a part of the Hot Summer of Generative Psychogeography.
Be invited.
Wilfried Hou Je Bek


Re: Lee Marvin Toolbox

i couldn't get the mac download to work.... did anyone get this going?

On 7/3/02 5:32 PM, "Michael Szpakowski" <szpako@yahoo.com> wrote:

> This piece is tremendous!
> The description-
> <...stylistically ascribed
> to the young British
> design-school, ....Navigation on the
> internet his subject...
> .....counters them in an ironical way ....>
> made me fear the worst.
> The work is great, like a sort of multimedia Ben
> Marcus.
> Wonderful stuff!
> Michael
> --- "jorn.ebner@britishlibrary.net"
> <jorn.ebner@britishlibrary.net> wrote:
>> Lee Marvin Toolbox
>> by
>> Jorn Ebner
>> is now available in English translation - at
>> www.leemarvintoolbox.net
>> Lee Marvin Toolbox was awarded the Kunstpreis 2001
>> of Medienforum M?nchen.
>> The jury - Monika Fleischmann (GMD, St.
>> Augustin/Bonn), Gerfried Stocker
>> (Ars Electronica Center Linz), Tjark Ihmels (award
>> holder 2000) as well KP
>> Ludwig John and Ulrich M?ller (both Medienforum
>> M?nchen) - decided
>> unanimously for the project LEE MARVIN TOOLBOX of
>> London based artist Jorn
>> Ebner.
>> Lee Marvin Toolbox is a filigree and elliptical work
>> for the internet. With
>> Flash animations which can be stylistically ascribed
>> to the young British
>> design-school, Jorn Ebner makes Navigation on the
>> internet his subject
>> matter and counters them in an ironical way with the
>> famous cowboy song, "I
>> was born under a wanderin star".
>> The work is best viewed with Internet Explorer 5.x
>> and higher, and requires
>> a Flash5Player Plugin.
>> for further information contact:
>> www.medienforum.org
>> info@medienforum.org
>> jorn.ebner@britishlibrary.net
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rhizome.org seeks volunteer superusers

Tue Jul 02, 2002 01:00

hi rhizomers:

we're looking for volunteers to sign up as superusers.

what's a rhizome superuser?

rhizome superusers will make rhizome.org more rhizomatic -- by
decentralizing editorial roles, and putting content-filtering in the
hands of the many and diverse.

superusers will decide what goes on the rhizome.org homepage, what texts
get sent on to rhizome rare, and consequently, what goes into the
rhizome textbase. taking a step back, selecting and databasing texts is
part of the project of historicizing new media art, so we are intent on
working with superusers who take the matters of rhizome.org and new
media art/history seriously. superusers should be able to evaluate texts
in terms of their merit in the following categories:


part of the work will be attaching keywords and other metadata to each
kind of text, so we are interested in working with members superusers
who are interested in, or familiar with, the language and rhetoric of
new media, art, theory, and community, and discourse. superusers should
also be familiar with the logic and flow of email based discussion and
banter. production skills are required too: superusers will need to have
graphics software (e.g. photoshop) and be comfortable working with and
converting screenshots and graphics into thumbnail images. superusers'
schedule and level of activity on rhizome.org can vary, and will be
discussed with rachel so she can rely on colleagues accordingly.

if you are interested in volunteering to be a rhizome.org superuser,
please email a cover letter (reflecting on if you have the abilities
described above) and resume to me at rachel@rhizome.org with "superuser"
in the subject line.




For your attention

rachel greene spotted this on the Guardian Unlimited site and thought you should see it.

Note from rachel greene:

intro article on net.art -- "It is now possible to search through archives of the key artists who have led the net.art field: jodi.org and irational.org are good places to begin, the latter cataloguing projects by Heath Bunting, while rhizome.org/links currently has the best overview of artists' sites, including work by other pioneers such as Vuc Cosic, Olia Lialana and Rachel Baker."

To see this story with its related links on the Guardian Unlimited site, go to http://www.guardian.co.uk

The 21st-century artform
Once, web-based art made computers crash. Now net.art - created and shown solely online - is becoming an exciting medium in itself
Elisabeth Mahoney
Wednesday September 19 2001
The Guardian

For much of the decade that it has existed, net.art (variously known as webart, internet art and cyberart) has been something of a Loch Ness monster of the brave new high-tech cultural world. Famed and talked about in excited whispers, it was for a number of years also impossible for most of us to gain sight of. There were early, ground-breaking sites, and reports of radically new work existing solely on the web, but online gallery-going was more frustrating than fascinating. In the time it took for projects to download, domestic computers would crash.

But as the technology has caught up, so has the hype about net.art begun to translate into an exciting reality. A number of individual artists and creative partnerships now have several years of work online behind them, and some major art institutions have begun to exploit the potential of exhibitions and resources existing solely on the net.

"Net.art is at its most exciting point to date," says Francis McKee, head of Digital Arts and New Media at Glasgow's Centre for Contemporary Arts, and curator of Words and Things, a forthcoming exhibition at the CCA (October 26-December 23) which includes work by net pioneers JODI. "I think we can compare where we are now in terms of internet and digital art with the moment just before conceptualism moved into the galleries."

Start surfing for art online these days, and it's the opposite experience of those early, frustrating attempts - hours blur past as you click from link to link, falling for the seductive logic and design of the best site. It is now possible to search through archives of the key artists who have led the net.art field: jodi.org and irational.org are good places to begin, the latter cataloguing projects by Heath Bunting, while rhizome.org/links currently has the best overview of artists' sites, including work by other pioneers such as Vuc Cosic, Olia Lialana and Rachel Baker.

For new digital and internet art by an emerging generation of younger artists, you need to visit one of the virtual galleries showcasing and commissioning projects created specifically for online viewing. The Institute of Contemporary Arts' newmediacentre.com supports three major art projects online including, currently, the Sodaconstructor, which animates and edits 2-D models. At thing.net, not only are you greeted by flattering slogans ("you will attract cultured and artistic people to your home") but online projects include Coils of the Serpent 1999-2001 by Sebastian Luegert, brand logos flickering and fluttering like moths around a flame. "No copyright" the work taunts, reminding us of the anti-corporate, anti-institutional roots of much net.art, the antithesis of much of the commercial art presence on the net.

These roots lie behind the ethos of the alternativemuseum.org, the online arm of New York's Alternative Center for International Arts. Both share an interest in promoting a "global groove"; the website also specifically embraces the notion of digital space as an artistic medium in itself. At artmuseum.net/Refresh you can access works by 22 artists designed to act as art works on-screen but also as freely downloadable screensavers - participating artists include Entroy8Zuper and Jenny Holzer.

A major online exhibition of art, 010101 Art In Technological Times, was launched this year by San Francisco's Museum of Modern Art (sfmoma.org). Describing the past decade's experimentation with digital art as "the beginnings of a tectonic shift", the virtual gallery includes five new projects, including work by rated net artists Thomson and Craighead.

But is there anything more to all this than artists and internet surfers rushing to embrace the hi-tech and brand new in place of traditional media in real-world galleries? "Some of the established artists such as JODI have produced work that will last," explains Francis McKee, "and though you might think that it's all about novelty, in fact the artists often self-consciously work with obsolete and older systems, things we might think of as passe, like ASCII, the old computer language, or deliberately outdated systems. They think of them as artefacts, and use them to make viewers even more aware of the medium they are working with."

According to McKee, the next stage - and challenge - of net.art is going to be in the relationship it establishes between individual artists and the institutions that wish to support them. "The big question facing art galleries and museums is how to get involved with this work, which has been produced outside of the institution for so long?"

For now, net.art retains its edge and edginess - Heath Bunting's site includes tips on how to be an effective cultural terrorist - while breaking down some of the art world's more trenchant blind-spots, most notably a certain metrocentrism and sexism. In net.art, women are equally, if not more, high profile and where you work from - London, Tokyo, Cornwall, LA or Helsinki, no longer limits your potential, determines your horizons, as artist or, increasingly, as audience.

Copyright Guardian Newspapers Limited


FW: The Bono Probability Positioning System

------ Forwarded Message
From: "Conor McGarrigle" <conor@stunned.org>
Date: Fri, 28 Jun 2002 18:24:20 +0100
To: <netartnews@rhizome.org>
Subject: The Bono Probability Positioning System

The Bono Probability Positioning System

We know that for the visitor to Dublin's cultural quarter, Temple Bar one of
the attractions is that you may see U2 frontman Bono.

Using special Bono tracking satellites in conjunction with Temple Bar's
sophisticated surveillance system we are able to precisely track Bono's
movements in real time the moment he enters the Temple Bar area.

We use this data to generate the Bono Probability Positioning System which
dynamically calculates the probability of seeing Bono at any particular
location within Temple Bar.

Stunned.org is now pleased to offer the Bono Probability Positioning System
as a service to all our visitors



------ End of Forwarded Message