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.
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soundtoys press release

Mon Jun 24, 2002 01:00

> -----Original Message-----
> Convergence - new audiovisual experiences online and offline.
> Convergence the soundtoys exhibition is being shown at the ICA in London in
> the new media centre from june 5 th to 13th july.
> info@soundtoys.net
> www.soundtoys.net
> MORE info below.
> ----------------------------------------------------------------------------
> ---------
> Press release.
> About the exhibition which runs to july 13 2002.
> www.soundtoys.net
> The exhibition showcases artists who use new musical interfaces and explore
> new media for creative purposes. The exhibition reflects the current
> fascination with creatives from all disciplines focusing on new media and
> software for audio visual expression. Many artists are developing their own
> programs, pushing beyond the boundaries of the standard new media
> technologies, and standard interfaces. Featured work includes Leafcutter
> John, and Pelado, both writing their own applications in max and msp, used
> for manipulating sound. Soundtoys also features Julian Baker and Ixi, both
> exploring director software to make highly inventive stand-alone
> applications and music tools. Another common area of exploration is with
> sound controlled interfaces using the Antione Schmitt's FFT extra, for
> example artists like Toxi, Area 3 and Atty's Multi-amaze. Meanwhile the
> likes of Schmit and Bakteria are building autonomous generative machines.
> Also installed on one of the machines is Golin Levin's l interactive Flong
> piece, written in Java and only available as a stand alone. And working in
> the same sphere we have artists like Peter Luining, Rechord and Stanza, all
> with a fascination for interactive 'painting'. Stanza is also exhibiting his
> new subvergence work, and the project 'inner city'. Other premieres include
> Iriealist's new audio visual work and Squidsoup's Alt Zero 4. And it
> wouldn't be fair to leave out some of the audio visual artists who are
> currently working with 3-D worlds like Christina Mc Phee. Soundtoys would
> also like to acknowledge online contributions by Andy Wilson, Jim Andrews
> and Jay Malaiperuman and the other hundred artists exhibiting who have
> allowed for this project to develop.
> About Convergence.
> The merging of the audio and the visual is increasingly becoming a central
> issue in the development of interactive media. Web artists are fusing the
> arts, incorporating a wide range of approaches to the medium of the Internet
> and audio visual practice. Artists are producing new audio visual
> experiences, and this includes art, games, generative music and interactive
> environments. Advances in computer and online technologies have provided a
> whole new way of artistic expression and experience which incorporates
> opportunities for non-linear experience and interactivity as well as this
> convergence. Artists are attracted to a sense of connection and convergence
> which is one of several qualities inherent to the Internet as a medium for
> creative expression; sound,visual effect, time, movement and interaction all
> provide new parameters for the development of contemporary art. Artists have
> always been influenced by technology. The convergence of hardware and
> software has enabled many types of creatives to meet or converge. We are now
> seeing the emergence of a new art form. As this newness unfolds a history
> will unfold with it. At the moment there is a blurring of the boundaries as
> many approaches are adopted, and this is confused further because of the
> constantly changing and developing nature of technologies which also allows
> for the artwork themselves to change. We are starting to see a much bigger
> emphasis on works that generate and evolve. Formal relationship to art will
> change as the artists relationship to the process changes. Online, we have
> net.art - artists that are specifically addressing the uses and abuses of
> the Internet as a medium for creative expression. Within this context
> artists are exploring many technologies including shockwave, flash, vrml and
> java. And offline we see more application driven interface experiments using
> technologies such as max, super collider, and exploiting multi user systems,
> generative audio, and graphics displays. This exhibition addresses the
> blurring of these boundaries and presents artists working at the edge of
> software development and arts practise and the new musical interface. The
> exhibition offers insights into the diverse and creative nature of the web
> which is available to today's artists. These works could been seen as a new
> art form, or as a contribution to the new music and electronica.
> About Soundtoys
> Soundtoys.net, provides spaces for artists at the fore of the audiovisual
> field, giving focus to their developing art forms. The aim to help link up
> other artists, and to showcase artwork and artists working in new media.
> Future plans for soundtoys include cd roms, a book, specially commissioned
> works, themed shows and presenting exhibitions in festivals and galleries
> worldwide. Soundtoys.net is exhibiting exciting new works by a growing
> community of audio visual artists. Soundtoys.net also provide a forum for
> discourse around new technologies. The site looks at the serious issues
> around interactive arts, audio visual synthesis, generative art, and a
> history of interactivity. Increasingly a divergent group of artists are
> exploring, researching and playing within the parameters of soundtoys.
> Designers, fine artists, and musicians are all expanding their own work
> within the online audio visual domain. The diversity of the internet is
> reflected in soundtoys site, and the fact that artists are exploring so many
> technologies means many technologies are explored including shockwave,
> flash, vrml, java. Increasing numbers of artists are exploring, researching
> and playing within the parameters of the medium: Designers, painters, film
> makers, installation artists, writers, photographers, printmakers,
> musicians, each bringing to the online audio visual domain their own intent,
> their skill set, their history. So many threads are interweaving here to
> make this rich ever-evolving tapestry. The soundtoys site also features a
> journal section which provides a forum for debate around the creative use of
> new technologies on the internet, past, present and future.
> Soundtoys.net features contributions from these artists.....
> area3 . ian andrews . jim andrews . amy alexandra . rain ashford . bakteria.
> detlef bursiek. andrew bucksbarg . julian baker. boredom research .beth
> carey . gregoire clique. steven clark. jonah brucker cohen. corby and baily
> . trip dixon . carla diana . eric deis . duodecimo . flx. martin franklin .
> andy forbes . ana galkina. michiel van der haagen . andy huntington .
> leafcutter john . brian judy . andy greenwood. ixi . iriealists . mickel
> knaven. john klima. shirin kouladjie . simon lalli . labau . golin levin .
> christina mcphee . hidekazu minami . jey malaiperuman. wade marynowsky.
> richard mullarky . jason nelson . glorious ninth . photon. emilie pitoiset .
> alan peacock .. tina la porta . pelado. perestroika. peter luining .
> benjamin louis . rikard lundstedt . rechord. adam rogers. semiconductor.
> sascha. jonathan snyder . antoine schmitt . greg sidel . barry smylie .
> yoshi sodeoka . soda . squidsoup . stanza . submeta . michael szpakowski.
> brad todd. toxi . tomoo. peter traub . michael trommer . paul webb . ade
> ward. andy wilson. john woodward . jeff wookey . chris yewell .
> A showcase of artists who use new musical interfaces and explore the
> audiovisual.
> More info online at
> www.soundtoys.net
> info@soundtoys.net
> ----------------------------------------------------------------------------
> ----------------------------------------------------------------------------
> -
> A website for new experiments in audio visual art, sound and interactive
> multimedia.
> web and info... .... http://www.soundtoys.net
> email .......... ..... info@soundtoys.net
> ----------------------------------------------------------------------------
> ----------------------------------------------------------------------------
> -
> --
> "The motherboard is the central component of your hard drive."
> To unsubscribe from eu-gene visit
> http://www.generative.net/mailman/listinfo/eu-gene

------ End of Forwarded Message


Re: suhrkamp calls back walser.pdf, textz.com releases walser.php

i am confused. the book is about a jewish critic, and was written by walser.
are you saying his press only cared about protecting the text because they
wanted to protect his right to write + distribute an anti-semitic text? what
does the last sentence of your post mean? what don't they care about?

On 6/24/02 5:30 PM, "sebastian@rolux.org" <sebastian@rolux.org> wrote:

> Suhrkamp calls back walser.pdf, textz.com releases walser.php
> Martin Walser's fame as a German national hero dates back to 1998, when
> he was awarded the prestigious Peace Prize at the Frankfurt Book Fair.
> In accepting the prize, Walser not only suggested that a "routine of
> accusations" against Germans had developed, and declared that he felt in
> himself "something that begins to resist the permanent presentation of
> our shame", but also stated that Auschwitz had become "a routine threat,
> a tool of intimidation that can be used any time, a moral stick or
> merely a compulsory exercise", and critizied the "exploitation of our
> disgrace for present purposes", an apparent reference to financial
> claims by Jews who survived the Holocaust. Walser's speech was
> applauded, and later defended, by almost the entire political and
> cultural establishment in Germany.
> In May 2002, just weeks after prominent members of the German Liberal
> Party had denounced Israel's policies as "Nazi methods" and accused the
> Central Council of Jews of formenting anti-semitism with their criticism
> of such comparisons, Suhrkamp Verlag announced the release of Walser's
> new novel "Death of a Critic". A few days before, the Frankfurter
> Allgemeine Zeitung (FAZ) had refused to publish it serially, and had
> quoted some of the anti-semitic stereotypes that the book is dripping
> with. The critic who falls victim to Walser's alter ego is obviously
> modeled after Marcel Reich-Ranicki, former literary editor of the FAZ,
> who is a survivor of Auschwitz, and whose entire family was killed
> during the uprising in the Warsaw ghetto. But Suhrkamp argued that the
> German public had the right to judge for themselves, citing the
> "tradition of enlightenment" that the publishing house felt obliged to.
> So much for the background. On June 15, 2002, an unspecified person
> named "inbox@textz.com" was served a cease-and-desist order by Luebbert
> Briessmann Rauch, the lawyers of Suhrkamp Verlag, claiming he or she had
> made available for download the PDF version of "Death of a Critic"
> (scheduled for release on June 26), which Suhrkamp itself had started to
> mail out for promotion two weeks before. (Ironically, the file they were
> mistaking for Walser's novel was Bruce Sterling's "The Hacker Crackdown:
> Law and Disorder at the Electronic Frontier") The charges and penalties
> Luebbert Briessmann Rauch were trying to collect from the unspecified
> person were: EUR 100,000 in case the non-existing PDF did not disappear
> and he or she sent them some legalese within 5 hours, up to EUR 50,000
> since textz.com (which is registered and hosted in the U.S.) was
> violating the "Kennzeichnungsanforderungen" of the German "Teledienste=
> gesetz" (sic!), and a legal fee of EUR 1,201.80 for the delivery of the
> cease-and-desist order. Furthermore, they announced an unspecified
> person named "textz@textz.com" was going to be charged with a criminal
> offense before the Munich District Court, claiming he or she had
> referred to Mr. Walser as an "asshole" in a comment on a mailing list.
> (Both their letter and the reply they received from New York are
> documented at http://textz.com/trash/walser.txt)
> The fact that "humanity won't be happy until the last copyright holder
> is hung by the guts of the last patent lawyer" has already been stated
> elsewhere. But until then, humanity may at least regularly be amused by
> their blatant incompetence. So instead of spreading paranoia (like most
> "internet experts" in Germany do since the weblog schockwellenreiter.de
> was served a similar cease-and-desist order by the same law firm, just
> for linking to another copy of the said PDF), textz.com has decided to
> come up with something productive. Today, we are proud to announce the
> release of walser.php (http://textz.com/trash/walser.php.txt), a 10,000-
> line php script that is able to generate the plain ascii version of
> "Death of a Critic". The script can be redistributed and modified (and,
> of course, linked to) under the terms of the GNU General Public License,
> but may not be run without written permission by Suhrkamp Verlag. Of
> course, reverse-engineering the writings of senile German revisionists
> is not the core business of textz.com, so walser.php includes
> makewalser.php, a utility that can produce an unlimited number of
> similar (both free as in speech and free as in copy) php scripts for any
> digital text.
> On June 19, Suhrkamp has apparently withdrawn their charges against the
> incriminated weblog, and the fact that they haven't replied to e-mail
> so far (in fact they didn't even take a look at the 1x1 pixel gifs
> included, and it's hard to imagine they're using mutt or pine) indicates
> that they may have decided to stop wasting the time and bandwidth of
> textz.com as well. Even mainstream media that ran the story had to admit
> that spamming journalists with e-books was probably not the best start
> to a campaign against piracy. Still, there is one question that remains
> wide open: When visiting textz.com, weren't their lawyers one click away
> from the works of Adorno (also copyrighted by Suhrkamp, in fact one of
> their best-selling authors, and also the one who explained how the
> "tradition of enlightenment" leads directly to the gas chamber)? We have
> two concurring explanations for this. One is that their lack of
> competence is just way beyond our imagination. The other one would be:
> They really don't care, as long as it's a Jewish critic.
> + bostoniscoolerthannewyorkbostoniscoolerthannewyorkbostoniscoolerthanne
> -> Rhizome.org
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/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.php3


FW: In Memoriam Tiia Johannson

------ Forwarded Message
From: "JavaMuseum" <nc-agricowi@netcologne.de>
Organization: JavaMuseunm
Reply-To: "JavaMuseum" <info@javamuseum.org>
Date: Thu, 20 Jun 2002 13:55:35 +0200
To: <netartnews@rhizome.org>
Subject: In Memoriam Tiia Johannson


In memoriam Tiia Johannson.

On 11 June 2002,
Tiia Johannson died at the young age of 37 years in Tallin/Estonia.

Tiia Johannson was an internationally highly respected net artist for many
Her works participated in a variety of
international media festivals and exhibitions and have been honoured with
numerous prizes and awards.
In 2001, she received the "JavaArtist of the Year" Award given by JavaMuseum
and her complete work has been presented in autumn 2001 in a solo show at

In order to honour her extraordinary work and keep vivid the memory of this
very talented artist, JavaMuseum will transform this solo show into a
Memorial exhibition for Tiia Johannson and will post it online in short for

Tiia Johannson leaves her husband Raivo Kelomees and two children.

The whole art world will miss her.

In deep sympathy,

Wilfried Agricola de Cologne
director of JavaMuseum
(JAVA=Joint Advanced Virtual Affairs)

------ End of Forwarded Message


FW: Pressemitteilung: Magische Maschinen

------ Forwarded Message
From: <info@edith-russ-haus.de>
Date: Thu, 20 Jun 2002 13:51:33 +0200
To: <info@edith-russ-haus.de>
Subject: Pressemitteilung: Magische Maschinen

[scroll down for english]


Oldenburg, 20. Juni 2002

Magische Maschinen

Eroffnung: Freitag, den 5. Juli 2002, 20 Uhr

Dauer der Ausstellung: 5. Juli


Re: censorship on rhizome

rhizome is not being censored. i would know... what makes you think it is?

> BlankCould anyone enlighten me whether there is an ironic art 'censorship
> joke' happening, or is rhizome suddenly being censored, thus its contents as
> well...if so people should do something about it.
> marc