Announcer on 3 Jan 2001 05:06:45 -0000

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<nettime> Announcements [x10]

Table of Contents:

   for announcer
     "geert lovink" <>                                                
   review: Hertzian Tales
     brian carroll <>                                         
     cristine wang <>                                          
   a logo for the counter-summit OECD - Naples, Mach 2001
     Officina 99 <>                                                       
   [ot] [!nt] \n2+0\ NATO.0+55 \\ UORLD UIDE SKIN                                                         
   Jordan Crandall at The Kitchen
     Gena Gbenga <>                                                  
   india2001: Listing of a wide-range of Indian sites
     Frederick Noronha <>                                        
   Call For Presentations - EFCE 2001 - 22-23 June
     "R. A. Hettinga" <>                                           
   [no subject]
     Officina 99 <>                                                       
   UPDATE: The 12hr ISBN-JPEG Project
     { brad brace } <>                                              

Date: Tue, 2 Jan 2001 18:30:59 +1100
From: "geert lovink" <>
Subject: for announcer

From: "Pamela Jennings" <>
Sent: Tuesday, January 02, 2001 5:30 PM
Subject: New Media Arts | New Funding Models Rockefeller report


I'm pleased to announce the availability of my report New Media Arts | New
Funding Models prepared for the Rockefeller Foundation Creativity & Culture
Division.  The New Media Arts | New Funding Models report investigates the
current state of funding for new media artists.  The emphasis is on the
support structures for innovative creative work that uses advance
technologies as the main medium for artistic practice.

Twenty-three individual artists/innovators, organizers, directors, and
foundation program officers involved in the international new media arts
community were interviewed.  Participants were asked a number of questions
regarding how they frame new media art, concerns from the field, funding
histories, and concepts for funding models.  Several participants are
involved in new initiatives that bridge the for-profit and non-profit
funding sectors including artists' research centers, innovative business
models, new approaches for traditional funding sources, incubators, venture
funding, and leveraging community assets.

Survey Participants include Peter Anders,; Roy Ascott,
CAiiA-STAR; Marc Beam, Creative Disturbance; Kevin Cunningham, 3-legged Dog
Media and Theater Group; Elizabeth M. Daley, School of Cinema-Television,
University of Southern California;  Sara Diamond, Banff Centre for the Arts;
Andrea DiCastro, Centro Multimedia; Steve Dietz, Walker Arts Center; Kevin
Duggan, Arts Consultant; Jean Gagnon, Daniel Langlois Foundation; Cynthia
Gehrig, Jerome Foundation; Carl Goodman, Museum of the Moving Image; Lisa
Haskel, Tech_nicks; Ruby Lerner, Creative Capital Foundation; Geert Lovink,
Media Interventionist; Alyce Myatt, formerly of the MacArthur Foundation;
Laurant Mignonneau, Artist; Marcos Novak, Trans-Architect; Jeannine Parker,
Business Consultant; Jonathan Peizer, Soros Foundation; Debby Silverfine,
New York State Council on the Arts; Christa Sommerer, Artist; Mark

The report can be downloaded at:
(Follow the "New Media Arts | New Funding Models" link on the top of this


Pamela Jennings

Pamela Jennings | Interaction Designer
Center for Technology in Learning, SRI International, USA

Research Fellow | CAiiA-STAR ..-* |
Center for Advance Inquiry in Interactive Arts, University of Wales, U.K.
Science Technology and Arts Research, University of Plymouth, U.K. |


Date: Mon, 01 Jan 2001 22:00:19 +0000
From: brian carroll <>
Subject: review: Hertzian Tales

 H E R T Z I A N   T A L E S :
 Electronic Products, Aesthetic Experience
 and Critical Design

 Anthony Dunne
 Computer Related Design's
 Critical Design Unit,
 Royal College of Art, c.1999
 ISBN: 1 874175 27 6
 It is my great pleasure to be able to share
 my views on a substantial piece of work in
 the cultural investigation of electromagnetic
 phenomena, natural, artificial, and virtual.

 What is so refreshing is that this book does
 not merely repackage old ideas and ideologies
 about technological enthusiasm, but instead
 questions them, through thinking, writing,
 and design. If works in the past have been
 groundbreaking, this is a literal penetration
 of the design field by Hertzian radio waves.
 Anthony Dunne, with written and visual clarity,
 gives dozens of examples of previous attempts
 by industrial designers, artists, and architects
 to grapple with the more philosophical aspects
 of designing electronic products. This research
 in itself makes the book an invaluable resource.
 But interestingly this is where the book begins
 in its critical approach, leveraging serious and
 relevant criticism of much work to date. This is
 because traditional notions of design have been
 mapped onto the new electronic object, in effect
 unquestioningly repackaging them for a totally
 different paradigm of electronic reality these
 new technologies help create and could themselves
 help reveal, through a new design awareness.

 Mr. Dunne refers to architecture and fine art
 as inspirations for industrial designers whom
 are looking for meaning beyond the commercial
 marketplace alone. A place where investigating
 design ideas, as non-commercial ideas, can be
 encouraged as a way of exploring and furthering
 the aesthetic development of electronic products,
 and thus peoples awareness of them in their more
 poetic dimensions.

 From a paradoxical perspective, one of the most
 basic and interesting aspects of Dunne's work is
 also somewhat difficult to accept, in total. It
 is that the electronic object can be designed
 as a `post-optimal' object, meaning an object
 that exists beyond its optimization through
 its design. It is this proposition which launches
 one into a new world of electronic awareness, and
 its active interrogation through design thinking.

 The difficulty comes with the assumption that is
 the basis for the post-optimized object, which is
 that which is most often at odds with critical
 thinking. From one perspective, the optimal may
 still be a critical and unresolved issue, well
 beyond aesthetics and into the economic, social,
 and political aspects of the electronic object.
 For example, a computer may be aesthetically
 optimized, such as the iMac by Apple, but it
 may still use the inefficient, polluting, and
 wasteful systems of obsolescence as most all
 of the other electronic products on the market.
 Thus, in this respect, the critical aspects of
 the industrial design of electronic objects must
 remember the infrastructure which makes and
 distributes and disposes of these very objects.
 Doing so reminds one that things are far from
 optimized in terms of their design.

 But this fact does not limit the importance of
 the ideas that are expressed based on the design
 of electronics past that of their optimization.
 For Mr. Dunne it is about awareness. Not just
 of the object, but the object as a type of portal
 into a new way of perceiving the electromagnetic
 space of Hertzian waves, outside the confines of
 traditional media, such as radio and television.
 Instead of answering what this new design should
 be like, Mr. Dunne makes it clear that this is
 instead a question to be explored by many people
 through critical design.
 Mr. Dunne's writing is both smooth and densely packed
 with ideas, so much so that it is very difficult to
 try to re-rationalize the text with its own complex
 reasoning. But this is not to say that the thinking
 is just another private language and perspective.
 It is most definitely not, and his public conscience
 is revealed in every chapter, reminding the reader
 why design investigations of electronic objects need
 to be made, and these are for their social and their
 cultural impacts, and our need to understand them
 better so that we can design the electromagnetic
 world we want to exist within.

 That this commitment is not simply about equating
 aesthetics with beauty is actively demonstrated in the
 acknowledgement of the dark side of electromagnetism,
 in the author's own works based upon this thinking.
 Using radio scanners Mr. Dunne maps the spaces emitted
 by 'objects that dream', that is, electronic objects
 such as baby intercoms, electronic bugs, and cordless
 phones which invisibly leak their information out past
 traditional boundaries of buildings, and into Dunne's
 moving car, scanning neighborhoods from the streets.
 Likewise, the `gauss meter' becomes a design tool in
 the hands of Mr. Dunne, and electromagnetic fields
 (EMFs) are measured and mapped for their dreaminess,
 and become research for critical design thinking.

 If there is an analogy to this type of designing, it
 might be that of gravity. That, like planets, while
 we may find electronic products attractive, they too
 are attracting us without our knowing of this force
 or of its impact upon our daily lives. In summary,
 Anthony Dunne's Hertzian Tales is about designing
 ways of knowing the electromagnetic environment we
 exist within, and establishing a poetic interaction
 with it through purposeful and critical designs which
 help establish a cultural awareness of electromagnetism.

 brian thomas carroll
 architectural researcher


Date: Tue, 2 Jan 2001 00:00:49 -0800 (PST)
From: cristine wang <>

*For Immediate Release*

You are invited to attend an OPEN FORUM in
conjunction with the exhibition currently on view
at Tribes Gallery through January 13:
"Dystopia + Identity in the Age of Global
Communications" curated by Cristine Wang


**SATURDAY, JANUARY 6, 2001 (6-8PM)** 

(btw Avenue C and D)
F train to 2nd Avenue (East Village)

A small panel of 9 presenters (artists, critics,
curators) will discuss the problematics of the
presentation of online work in physical space. 


Panelists will each give a 10 minute verbal
A question + answer period will follow. 
All presentations will be to a live audience and
will be videotaped and archived for web streaming
at a later date. 


ANDY DECK: makes public art for the Internet that
resists generic categorization: collaborative
drawing spaces, game-like search engines,
problematic interfaces, informative art. Deck has
made art software since 1990, initially using it
to produce short films. Since 1994, he has worked
with the Web using the sites and  An avid critic of corporate
culture and militarism, Deck's hybrid news-art
projects have addressed a variety of issues that
are regularly misrepresented in the mass media.
In the interest of preserving this available
alternative media, and sensing the drift of the
Internet toward a marketing and entertainment
medium, he has allied himself with open source
software developers, optimizing his work for use
with the Linux operating system, and publishing
source code for much of his software.  His works
have been exhibited at: Art on the Net (Machida
City Museum, Tokyo), Net_Condition (ZKM,
Karlsruhe, Germany), War Bulletin Board
(Postmaster's Gallery, NYC), Graffic Jam
(, NYC) 1998 Prix Ars Electronica (Linz,
Austria), Mac Classics (Postmaster's Gallery,
NYC).  Andy studied for a  Post-diplôme, at the
Ecole Nationale Supérieure des Arts Décoratifs,
Paris; and received his MFA in Computer Art at
School of Visual Arts, NYC. He has taught at the
Universidad Internacional Menéndez Pelayo, Sarah
Lawrence College, and New York University.
Currently he teaches at the School of Visual
For more info:

RICARDO DOMINGUEZ:  is a co-founder of The
Electronic Disturbance Theater (EDT), a group who
developed Virtual-Sit In technologies in 1998 in
solidarity with the Zapatista communities in
Chiapas, Mexico. He is Senior Editor of The Thing
( A former
member of Critical Art Ensemble (1987 to 1994 -
developers of the theory of Electronic Civil
Disobedience in the late 80's). Currently a
Fake_Fakeshop Worker (, a hybrid
performance group, presented at the Whitney
Biennial 2000. Ricardo has collaborated on a
number of international net_art projects: with
Francesca da Rimini on Dollspace
(, the Aphanisis Project
with Diane Ludin.  Artificial_Geographic with
Fakeshop at Next5Minutes, and a recombinant project with
net.artist Zhang Ga. He also presented EDT's
SWARM action at Ars Electronica's InfoWar
Festival in 1998 (Linz, Austria). His first
digital zapatismo project was in 1996 - 97, a
three month RealVideo/Audio network project: The
Zapatista/Port Action at (MIT).  His essays have
appeared at Ctheory ( and
recently an article in "Corpus Delecti:
Performance Art of the Americas," (Routledge,
2000), edited by Coco Fusco. He Edited EDT's
forthcoming book Hacktivism:
network_art_activism, (Autonomedia Press, 2001). 
For more info:

JON IPPOLITO:  is part of the artistic team of
Blais/Frank/Ippolito (formerly
Cohen/Frank/Ippolito), and is Assistant Curator
of Media Arts at the Guggenheim Museum, New York.
 While most other collaborative teams present
their work as a "unified front," Joline Blais,
Keith Frank, and Jon Ippolito create
installations, books, and Web projects that
emphasize physical, verbal, or mental struggles
among the three participants. They have exhibited
their work at galleries such as Sandra Gering and
Storefront for Art + Architecture in New York as
well as in a variety of online contexts such as
the Walker Art Center in Minneapolis. In 1996
they received a DNP Achievement Award for their
work Agree to Disagree Online, developed with the
assistance of Joline Blais. 1997 they received a
Louis Comfort Tiffany Prize for their body of
work.  In 1993 Jon curated Virtual Reality: An
Emerging Medium. Since then, as Assistant Curator
of Media Arts at the Guggenheim, Ippolito has
curated and coordinated exhibitions that explore
the intersection of contemporary art and new
media. He is the ongoing curator of the
CyberAtlas project on the Guggenheim Web site, a
compendium of maps of cyberspace developed with
outside curators. His writing on the cultural and
aesthetic implications of new media has appeared
in the Art Journal, art/text, Flash Art, and
ArtByte, for which he writes a regular column
entitled "Cross Talk." Their latest web-based
work “Fair-e-Tales” can be viewed on the
Alternative Museum’s Featured Web-based Projects
For more info:

JENNY MARKETOU: is a varied media artist who
works with telepresent environments and
networking technologies, translocal performance
and video and computer installations. Since the
mid 90's, she has explored new media and Internet
technologies as a new medium of artistic
expression.  Her works focus on the interstitial
space of surveillance, the virtual, networking
and speed.  Jenny’s works have appeared in
exhibitions worldwide, including: “Tenacity”,
Swiss Institute, NY; “Net_Condition”, ZKM,
Karlsruhe, Germany; Banff Center for the Arts,
Banff, Canada; 24th Sao Paulo Biennale, Brazil;
“Manifesta 1”, Rotterdam; The Newhouse Centre for
Contemporary Art, Snug Harbour, NY; The
Alternative Museum, NY; “Modern Odysseys: Greek
American Artists of the 20th Century”, The Queens
Museum of Art, and Carnegie Center For the Arts.
Jenny has lectured at “medi@terra 2000”, Fournos,
Greece; Invenção “Thinking the Next Millennium
(São Paulo, Brazil); <>, CalArts, and
teaches as an Adjunct Professor, The Cooper Union
School of Art, New York and The New School for
Social Research in New York.  She was also an
artist in residence at Art Omi International Arts
Center, NY. For more info:
SAUL OSTROW:  Critic and Curator, Director,
Center for Visual Art and Culture, and Associate
Professor of Art, University of Connecticut,
Storrs & Stamford, former Editor of the book
series Critical Voices in Art, Theory and
Culture, G+B Arts International, Art Editor,Bomb
Magazine, Member of the Editorial Board of the
Art Journal, Published by the College Art
Association, Member of the International
Association of Art Critics (AICA), Contributing
editor NYArts Magazine. He writes regularly for
Flashart and the International Review of Art.  He
teaches Critical Theory at NY University and
School of Visual Arts. Mr. Ostrow has also been a
guest lecturer at: Cranbrook Academy, Mich., St.
Marys College, Balt. Maryland, Hunter College,
NYC and Seminars in Theoretical Studies, White
Columns, NYC. He has organized panel discussions
on the education of the artist with Jeremy
Gilbert Rolfe, John Torreano, Silvia Kobalski,
Gloria Kury (School of Visual Arts) and on
painting with Chuck Close, David Diao, Catherine
Howe, Anna Bialabroda and Fabian Maccassio (for
Triangle Foundation). Saul conducted an interview
with the influential American art critic Clement
Greenberg, as part of The Greenberg Symposia, a
hypertext experiment to create an environment for
a multidisciplinary approach to art history,
criticism and theory. 

CHRISTIANE PAUL:  is the Adjunct Curator of New
Media Arts at the Whitney Museum and the
publisher and editor-in-chief of Intelligent
Agent, a print and online magazine on the use of
interactive media in arts and education.  Since
the early 90s, she has been working and lecturing
in the field of new media. She is the author of
the hypertext Unreal City: A Hypertextual Guide
to T.S. Eliot's The Waste Land (published by
Eastgate Systems, Watertown, MA, 1995) and has
written extensively on new media, net art,
hypermedia, and hyperfiction. Her articles have
been published in magazines such as Intelligent
Agent, Sculpture, and Leonardo, and she edited,
among other volumes, the book in vitro landscape
(published by Walther König, Cologne, 1999) and
the proceedings of the 1998 conference "Virtual
Museums on the
Internet" (organized by the Arch Foundation,
Austria, in collaboration with the Solomon R.
Guggenheim Museum). She has been working with
Margot Lovejoy and Victoria Vesna on a book
titled context providers -- context and meaning
in digital art, which will be published by the
MIT Press.  Ms. Paul has participated in numerous
panels on new media and presented at
conferences worldwide. Her speaking engagements
included the annual College Art Association
conference (New York), the Dept. of Design |
Media at UCLA, Invenção thinking the next
millennium (São Paulo, Brazil), consciousness
reframed 2 (organized by CAiiA, Centre for
Advanced Inquiry in the Interactive Arts at the
University of Wales, Newport, UK) and the
Governor's Conference on the Arts (San
Francisco). She has taught at New York University
and Fordham University and is currently teaching
in the MFA Computer Graphics Dept. at the School
of Visual Arts, NY. She received her MA and Ph.D.
from the University of Düsseldorf, Germany.

HELEN THORINGTON:  Helen Thorington is a writer,
sound composer, and media artist. Her web
projects include narrative works, North Country,
Part 1(1996) and North Country, Part 2 (1997) and
Solitaire (1998) with Marianne Petit and John
Neilson(1998); she is the originator of the
Adrift project, an ongoing networked performance
collaboration with Marek Walzcak and Jesse
Gilbert.  Thorington has also taken part as a
composer in a number of national and
transatlantic webcasts.  She is the Executive
Director of the independent media organization,
New Radio and Performing Arts, Inc. (aka
Ether-Ore), the founder and producer of the
national weekly radio series, New American Radio
(1985-98), and founder and producer of the
turbulence and somewhere websites. Turbulence
( commissions artists to
create work that explores the web medium.

MARK TRIBE:  is an artist, entrepreneur, curator
and arts administrator whose interests lie at the
intersection of emerging technologies and
contemporary art. In 1996, he founded, a nonprofit organization focused on
new media art. He then founded StockObjects, a
startup company that sold animations and other
“digital objects” online. Mark speaks widely on
new media art and nonprofit management. He plays
an active role as an advocate for net artists on
grant panels and in the press. And he serves on
the advisory boards of nonprofit arts
organizations and new media companies. His most
recent artwork, a net art project called
StarryNight, is an interface for browsing
Rhizome’s text library that represents each
article as a star in a night sky. StarryNight can
be found online at
Prior to and StockObjects, Mark
worked as an artist in Berlin, and developed
commercial web sites at Pixelpark GmbH, a leading
German new media agency. He received a Masters of
Fine Arts in Visual Art from the University of
California, San Diego in 1994 and a BA in Visual
Art from Brown University in 1990.
For more info:

MACIEJ WISNIEWSKI:  is an artist and programmer
whose work focuses on the underlying social
implications of technology and the network.  His
web-based work "netomat" is a meta-browser that
engages a different Internet - an Internet that
is an intelligent application and not simply a
large database of static files. netomat(TM)
dialogues with the net to retrieve information as
unmediated and independent in form. Our current
point-and-click navigation, rigid information
distribution, and passive browsing of "authored"
information in today's interactivity will be of
little use when using netomat(TM).  Netomat and
his earlier projects ("m e t a V i e w ", "T u r
n s t i l e 2", "S c a n l i n k", "J a c k p o
t", and "T e l e - T o u c h") have been featured
in online and offline exhibitions at Postmasters
Gallery, New York; ZKM, Karslruhe Germany; ICA,
London; Walker Art Center, Minneapolis;
Guggenheim, SoHo; Johannesburg Biennial; and
Benjamin Weil's ada'web. Wisniewski studied
toward a Ph.D. program at the Institute for
General Linguistics and Computational
Linguistics, University of Stockholm, Stockholm,
For more info:


Please join us for the afterparty
**Saturday, January 6 (8-10 pm)**
197 E 3rd Street (btw Avenue A and B)


TEL: 917-318-0081 EMAIL:

Tribes Gallery
285 East Third Street, New York 
(F train to 2nd Avenue) (btw Avenue C and D) 
hours 2-6pm daily

Do You Yahoo!?
Yahoo! Photos - Share your holiday photos online!


Date: Tue, 02 Jan 2001 13:02:35 +0100
From: Officina 99 <>
Subject: a logo for the counter-summit OECD - Naples, Mach 2001

To mad writers the whole world over, to demonically possessed artists,
telematic painters, and all men and women of good will:

In March 2001 the mighty of the world, on occasion of the OECD Global
Forum, will be here in Naples to discuss the reform of public
administration and a phantomatic "electronic government" (e-governance). 
We - social action centers, associations, struggle movements in Naples and the
Campania Region - are organizing a welcome for these august personages.
There is a lot of preparation to be done, so we appeal specifically to you
because we believe that your abilities and creativity can be a further
weapon at the disposal of the movements in the struggle against economic
The first thing to do, in this perspective, is to come up with a logo for
the counter-summit. Locally we have collected some ideas, a few sketches,
but we thought it would be useful and interesting to get as many people as
possible involved in this task, even internationally.
So, do we offer any guidlines for a logo?
None, except the subject (against the Global Forum), the date of the
meeting (15/17 March 2001), the place (Naples, Italy), and the theme
Our thanks to all those who get involved. We greet you. Our meeting places
are Davos, Naples, or wherever the Seattle winds may blow. 

Social Center OFFICINA 99
++39 81 5522399
centro sociale occupato autogestito OFFICINA 99 - Via Gianturco 101 
Laboratorio occupato S.K.A. - Calata Trinità Maggiore 15/6 ( del Gesù) 
                tel/fax ++39-81-5522399 
          cell. 0335-6215304   0368-3913247 


Date: Tue, 2 Jan 2001 19:50:14 +0100
Subject: [ot] [!nt] \n2+0\ NATO.0+55 \\ UORLD UIDE SKIN

From: douglas repetto <>
Subject: january 2001 dorkbotnyc meeting

this month's meeting will take place tomorrow, wednesday, january 3rd,
2001 at the columbia university computer music center. 7pm sharp.
see the link below for info/directions.

this month we're focusing on video artists and software. we'll have four

kurt ralske will demo his use of nato.0+55 for real-time interactive
control of video (including audio-to-video and video-to-audio mapping)

sheldon drake will show a short reel of his latest after effects video

jeremy bernstein will show some recent video work he's been developing
using MAX and NATO.0+55. he's attempting to fit narrative/discursive
content into the context of live image performance.

r. luke dubois will present some of his current work with live video

hope to see you there!

- -
nato'z kreaz!on - nn = uaz redef!n!ng !t.

- -

- -

Netochka Nezvanova - cheerful! perversz - she dez!dz uat 2 do nekst. \ del!z!ouz \
                                                     |  +----------
                                                    |  |     <   
                                   \\----------------+  |  n2t      
                                                       |       >


Date: Tue, 02 Jan 2001 15:11:51 -0500
From: Gena Gbenga <>
Subject: Jordan Crandall at The Kitchen

Jordan Crandall
Drive (Tracks 3 & 4) 

January 5 - 26, 2001 
Opening reception: Friday, January 5, 6-8pm 

The Kitchen 
512 West 19th Street (between 10th & 11th Aves), New York
(212) 255-5793
Free Admission

New York-based media artist Jordan Crandall will present two excerpts
from Drive - a seven-part series of large-scale video installations
commissioned by Peter Weibel for the Neue Galerie am Landesmuseum
Joanneum in Graz, Austria.  The excerpts that will be presented are
Track 3 ("compulsion/registration") and Track 4 ("matrix:

Drive uses both cinematic technologies and military surveillance
techniques to investigate the pervasive, controlling systems that
"drive" the act of seeing.  In addition to this technics of control,
Drive looks at the new kinds of sensate worlds that begin to arise. 
These involve new couplings of humans and machines; new senses of
intimacy and invasive pleasures that usurp private space; and new forms
of simultaneously seeing and being seen -- which are helping to change
the contours of the body, its desires, and is sense of orientation in
the world.  

After their debut at the Neue Galerie am Landesmuseum Joanneum in Graz
one year ago, these works have been presented at numerous institutions
in Europe and Japan, including the ZKM in Karlshrue; ARTLAB-Spiral
Gallery in Tokyo; the Museo de Arte Carillo Gil in Mexico City; the
Neuer Berliner Kunstverein in Berlin; and the Centre d'Art Contemporain
de Basse-Normandie.  In January, they will also be presented at the TENT
Center for Contemporary Art in Rotterdam, in conjunction with V2
Organization and the Rotterdam International Film Festival.

TV DINNER No. 10: Jordan Crandall 
Saturday, January 20, 6pm 
$20 (includes dinner) 
Reservation required

Moderated by Lawrence Rinder, Curator of Contemporary Art at the Whitney
Museum of American Art

For its tenth episode, The Kitchen's popular TV Dinner series features
Jordan Crandall, renowned artist and theorist on the politics of power
in new technology systems. Crandall talks about Drive (1998-2000) and
Heatseeking (1999-2000) -- two media installations in which traditional
16mm film technology is combined with technologies of combat to point at
the power dynamics around contemporary moving images:  sites where body
and sensorium are adjusted, oriented, "armed," and contoured within
complex new formats of movement.  

TV Dinner series @ The Kitchen 
Launched in the fall of 1998, TV Dinner series invites groundbreaking
video and new media artists to show their work and share their thoughts
in the informal atmosphere of The Kitchen's second floor theatre. The
audience meets the artists over screenings of work and a vegetarian
dinner provided by a neighborhood restaurant. Artists featured in past
TV Dinners include Joan Logue, Lynn Hershman, Gary Hill, Takahiko
Iimura, Liz Phillips, Paul Kaiser & Shelley Eshkar, Charles Atlas,
Johann Grimonprez and Fatimah Tuggar.               

The Kitchen is located at 512 West 19th Street (between 10th & 11th
Avenues).  For tickets, call 212-255-5793.

For more information, contact: 

Isabelle Deconinck 
The Kitchen
212-255-5793, ext.14


Date: Wed, 3 Jan 2001 02:44:05 +0530
From: Frederick Noronha <>
Subject: india2001: Listing of a wide-range of Indian sites

Greetings at the start of the year 2001. These wishes come from, a voluntary venture that is trying to focus on how
IT and the Internet can be -- and is being -- made relevant to the
commonman (and woman) in South Asia.
Towards this end, we have compiled a list of 2001 Indian (and a few
from the wider South Asian region) web sites. If you'd like a free copy
of this, just send an email to with
i2001LISTREQUEST as the subjectline. Also mention your name and address
in the body of the message. This listing is in HTML format and is
approx 300KB in size.
It lists sites from the field of academia (including asian studies -
careers - colleges - colleges - education - research - social service -
universities); agriculture; alternative-india; art & culture;
automobiles; banks; books; business (including industry, stocks,
infrastructure, trade, exports); communications (including in regional
languages); consulates of India abroad; cooking and food; e-commerce;
entertainment; expatriate indians; government (specific links to
various departments); health (advice, aids, ayurveda, blood banks
online, cancer, child development, corporates in health, disabilities,
doctors, elderly, facilities, health care, homeopathy, hospitals,
journals, leprosy, libraries online, medicine, pharmaceuticals, public
health, resources, tibetan medicine, yoga...); infrastructure;
IT-India's infotech industry;  job-sites; law-related links;
matrimonials; media; music; neighbours of India; news-sites;
newspapers; portals (on a range of themes); regional sites;
religion-based sites; sports; tourism & travel; women and youth sites.
Coincidentally, this listing has 2001 sites included.
We plan to also build a list of other sites from other South Asia
countries, and seek partners for this venture. If you would like us to
include sites which you feel should be in such a listing, please send
us details of the same.
Regards and best wishes, Frederick
bYtES For aLL is a voluntary, unfunded venture. 
bYtES For aLL volunteers team includes: Partha in Dhaka, Frederick
in Goa, Zunaira in Karachi, Arun-Kumar in Darmstatd, Zubair in
Islamabad, Archana in Goa, Shivkumar in Mumbai, Sangeeta in Nepal,
Daryl in Chicago and Gihan in Sri Lanka. To contact them mail  TO UN / SUBSCRIBE simply send a message to with UNSUBSCRIBE BfA or SUBSCRIBE BfA as the
subject line.
   frederick noronha, freelance journalist,
   near convent, saligao 403511 goa india 0091.832.409490/ 409783


Date: Mon, 1 Jan 2001 18:48:46 -0500
From: "R. A. Hettinga" <>
Subject: Call For Presentations - EFCE 2001 - 22-23 June

- --- begin forwarded text

Date: Mon, 1 Jan 2001 12:52:18 -0400 (AST)
From: Ian Grigg <>
Subject: Call For Presentations - EFCE 2001 - 22-23 June
Sender: <>
List-Subscribe: <>

                         The  Second
                    Financial Cryptography
                    Engineering Conference

                       22-23 June, 2001

                      The Signet Library
                      Parliament  Square
                      Edinburgh, Scotland

     C  A  L  L     F  O  R      P  R  E  S  E  N  T  A  T  I  O  N  S

Edinburgh is again host to the international *engineering* conference
on Financial Cryptography.  Individuals and companies active in the
field are invited to present and especially to demonstrate Running
Code that pushes forward the "state of the art".


      "The study of money, above all other fields in economics,
      is one in which complexity is used to disguise truth or
      to evade truth, not to reveal it."
         -- John Kenneth Galbraith,
            Money: Whence it came, where it went - 1975, p15

This is a technical, practical meet.  Presentations of demonstrable
technology in the field of Financial Cryptography are invited.  As this
is a practical conference, we are hoping to accept every demonstrator.


Our Venue is the Upper Library, within the Signet Library, which is a
listed building housing the Society of Writers to Her Majesty's Signet.
This exclusive conference venue is located in the centre of Edinburgh,
within the Royal Mile.


Included in the conference admission will be breakfast, lunch and
tea & coffee breaks.  Also included will be the conference dinner
in a local Edinburgh establishment.

The conference administration will block-book a convenient hotel
in the centre of town.  Details to be advised.


1. Save the dates 22/23 June, Friday and Saturday on your calendar.

   It is good to plan on a few extra days, and especially, leaving on
   the day after, Sunday, will help to get the best fares.

2. Prepare your presentation.  Check the
   <a href="">evolving programme</a>.
   Propose your presentation by mailing the Programme Chair,
   <a href=""> Ian Grigg </a>.

3. Book passage to Edinburgh. Don't forget to stay a few days on either
   side to see the sights.  Check the site for Locatives and Logistics.

4. Work on your presentation.  Remember, the main rule is that you
   demo working code.

5. Get your budget approved / allocated / applied for.  Whilst a
   commercial conference, accepted presenters will pay a deeply
   discounted fee, to be announced in a forthcoming release.  For
   planning purposes, 200 GBP (approximately 300 dollars or 320
   euros) should cover presenter's admission; the hotel should be
   about 100 GBP ($150 or E160) per night.

   Also include travel and incidentals in your budget.

6. The call for delegates -- attendees who do not present -- will
   by published at a later date.  If there is someone in your
   organisation who needs to survey the state of the financially
   cryptographic art, they can attend as a delegate.  For planning
   purposes, 500 GBP ($750 or E800) should cover the delegate's

7. If you think the conference can benefit your organisation,
   consider sponsoring.  Contact the Sponsorship Chair
   <a href=""> Rachel Willmer </a>
   for more details.

8. Keep an eye on the <a href=""> conference web site </a>
   for evolving details.


Fearghas McKay      General Chair                    <>
Ian Grigg           Programme Chair                  <>
Rachel Willmer      Press and Sponsorship Chair      <>


EFCE is supported by these companies active in Financial Cryptography:

   * Intertrader Ltd, an Edinburgh-based e-payments middleware and
     applications company.

   * Systemics Inc, a builder of financial cryptography applications.

- --- end forwarded text

- -- 
- -----------------
R. A. Hettinga <mailto:>
The Internet Bearer Underwriting Corporation <>
44 Farquhar Street, Boston, MA 02131 USA
"... however it may deserve respect for its usefulness and antiquity,
[predicting the end of the world] has not been found agreeable to
experience." -- Edward Gibbon, 'Decline and Fall of the Roman Empire'


Date: Tue, 02 Jan 2001 13:01:36 +0100
From: Officina 99 <>

centro sociale occupato autogestito OFFICINA 99 - Via Gianturco 101 
Laboratorio occupato S.K.A. - Calata Trinità Maggiore 15/6 ( del Gesù) 
                tel/fax ++39-81-5522399 
          cell. 0335-6215304   0368-3913247 


Date: Tue, 2 Jan 2001 06:18:37 -0800 (PST)
From: { brad brace } <>
Subject: UPDATE: The 12hr ISBN-JPEG Project

                    _______ _            __ ___  _          
                   |__   __| |          /_ |__ \| |         
                      | |  | |__   ___   | |  ) | |__  _ __ 
                      | |  | '_ \ / _ \  | | / /| '_ \| '__|
                      | |  | | | |  __/  | |/ /_| | | | |   
                      |_|  |_| |_|\___|  |_|____|_| |_|_|   
           _____  _____ ____  _   _            _ _____  ______ _____ 
          |_   _|/ ____|  _ \| \ | |          | |  __ \|  ____/ ____|
            | | | (___ | |_) |  \| |______    | | |__) | |__ | |  __ 
            | |  \___ \|  _ <| . ` |______|   | |  ___/|  __|| | |_ |
           _| |_ ____) | |_) | |\  |     | |__| | |    | |___| |__| |
          |_____|_____/|____/|_| \_|      \____/|_|    |______\_____|
                       |  __ \         (_)         | |  
                       | |__) | __ ___  _  ___  ___| |_ 
                       |  ___/ '__/ _ \| |/ _ \/ __| __|
                       | |   | | | (_) | |  __/ (__| |_ 
                       |_|   |_|  \___/| |\___|\___|\__|
                                      _/ |              

> > > > Synopsis: The 12hr-ISBN-JPEG Project began December 30, 1994. A
`round-the-clock posting of sequenced hypermodern imagery from Brad Brace.
The hypermodern minimizes the familiar, the known, the recognizable; it
suspends identity, relations and history. This discourse, far from
determining the locus in which it speaks, is avoiding the ground on which
it could find support. It is trying to operate a decentering that leaves
no privilege to any center. 

                       The 12-hour ISBN JPEG Project        
                          began December 30, 1994

  Pointless Hypermodern Imagery... posted/mailed every 12 hours... a
spectral, trajective alignment for the 00`s! A continuum of minimalist
masks in the face of catastrophe; conjuring up transformative metaphors
for the everyday... A poetic reversibility of exclusive events... 

	A post-rhetorical, continuous, apparently random sequence of
imagery...  genuine gritty, greyscale...  corruptable, compact,
collectable and compelling convergence. The voluptuousness of the grey
imminence: the art of making the other disappear. Continual visual impact;
an optical drumming, sculpted in duration, on the endless present of the

  An extension of the printed ISBN-Book (0-9690745) series... critically
unassimilable... imagery is gradually acquired, selected and re-sequenced
over time...  ineluctable, vertiginous connections. The 12hr dialtone... 

                     [ see ]

KEYWORDS: >> Disconnected, disjunctive, distended, de-centered,
   de-composed, ambiguous, augmented, ambilavent, homogeneous, reckless...
>> Multi-faceted, oblique, obsessive, obscure, obdurate...
>> Promulgated, personal, permeable, prolonged, polymorphous, provocative,
   poetic, plural, perverse, potent, prophetic, pathological, pointless...
>> Emergent, evolving, eccentric, eclectic, egregious, exciting,
   entertaining, evasive, entropic, erotic, entrancing, enduring,

	Every 12 hours, another!...  view them, re-post `em, save `em,
trade `em, print `em, even publish them... 

Here`s how:

~ Set www-links to ->

  Look for the 12-hr-icon. Heavy traffic may require you to specify files
  more than once! Anarchie, Fetch, CuteFTP, TurboGopher... 

~ Download from ->  /pub/users/bbrace
  Download from ->  /users/bbrace
  Download from ->  /users/bbrace
  Download from ->   /pub/users/bbrace
  Download from ->  /u/b/bbrace
  * Remember to set tenex or binary. Get 12hr.jpeg

~ E-mail -> If you only have access to email, then you can use FTPmail to
  do essentially the same thing. Send a message with a body of 'help' to the
  server address nearest you: 
  bitftp@plearn.bitnet			bitftp@dearn.bitnet		bitftp@pucc.bitnet
  *					*  

~ Mirror-sites requested! Archives too! 
  The latest new jpeg will always be named, 12hr.jpeg
  Average size of images is only 45K.
  Perl program to mirror ftp-sites/sub-directories:

~ Postings to usenet newsgroups:
* * Ask your system's news-administrator to carry these groups!
  (There are also usenet image browsers: TIFNY, PluckIt, Picture Agent,
    PictureView, Extractor97, NewsRover, Binary News Assistant, EasyNews) 

~ This interminable, relentless sequence of imagery began in earnest on
December 30, 1994. The basic structure of the project has been over
twenty-four years in the making. While the specific sequence of
photographs has been presently orchestrated for more than 12 years` worth
of 12-hour postings, I will undoubtedly be tempted to tweak the ongoing
publication with additional new interjected imagery. Each 12-hour posting
is like the turning of a page; providing ample time for reflection,
interruption, and assimilation. 

~ The sites listed above also contain information on other cultural
projects and sources. 

~ A very low-volume, moderated mailing list for announcements and
occasional commentary related to this project has been established at /subscribe 12hr-isbn-jpeg

- --
This project has not received government art-subsidies. Some
opportunities still exist for financially assisting the publication of
editions of large (33x46") prints; perhaps (Iris giclees) inkjet
extended-black quadtones on newsprint!  Other supporters receive rare
copies of the first three web-offset printed ISBN-Books. 

- --
ISBN is International Standard Book Number. JPEG and GIF are types of
image files. Get the text-file, 'pictures-faq' to learn how to view or
translate these images. [ftp]

- -- 
(c) Credit appreciated. No copyright 1994,1995,1996,1997,1998,1999,2000


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