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<nettime> Announcements [14]
Announcer on 21 Mar 2001 13:37:07 -0000

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<nettime> Announcements [14]

Table of Contents:

   4 announcer                                                                     
     "Phonet][r][ix" <netwurker {AT} hotkey.net.au>                                       

   TRANSDANCE research lab on DANCE & TECHNOLOGY                                   
     "ALAS" <alas {AT} ath.forthnet.gr>                                                   

   BeeHive Volume 4 : Issue 1 is now ONLINE!                                       
     "Talan Memmott" <talan {AT} percepticon.com>                                         

   Opacity and transparency-call for entries                                       
     z {AT} apiece.net                                                                    

   [essl {AT} eunet.at: =?iso-8859-1?B?bUB6ZbA=?= =?iso-8859-1?Q?2?= - released on www.t
     Florian Cramer <paragram {AT} gmx.net>                                               

   Re: <nettime> FW: Anna Kournikova Deleted by Memeright Trusted System           
     Steev Hise <steev {AT} detritus.net>                                                 

   New mailing list for press release information                                  
     Free Software Foundation <pr {AT} gnu.org>                                           

   Privacy Lecture Series - Privacy, Autonomy, and the Limits of Technology - Monda
     Ana Viseu <ana.viseu {AT} utoronto.ca>                                               

     turk <turk {AT} monochrom.at>                                                       

   PLANETWORK EVENT IN NEW YORK!!                                                  
     "PLANETWORK" <info {AT} planetworkers.org>                                           

   New issue of Immediacy is now on-line                                           
     Immediacy Editorial Board <immediacy {AT} usa.net>                                   

   For the Natural Death of the Work of Art  [www.kunsttot.de]                     
     Frieder Rusmann <rusmann {AT} kunsttot.de>                                           

   /// 0100101110101101.ORG /// life_sharing                                       
     PRPGND {AT} 0100101110101101.ORG                                                     

   The Daniel Langlois Foundation                                                  
     Angela Plohman <aplohman {AT} fondation-langlois.org>                                


Date: Mon, 19 Mar 2001 10:45:26 +1100
From: "Phonet][r][ix" <netwurker {AT} hotkey.net.au>
Subject: 4 announcer

    ------------- ] New at The Iowa Review Web, March 15 2001

               mez : data][h!][bleeding texts

     ------------- ] Recently

               mez : -][selec][text: co][deP][l][oetry] _

     ------------- ] http://www.uiowa.edu/~iareview/

.           .    ....         .....
          n.sert no here xXXx             
.... .                  .???  .......


Date: Sun, 18 Mar 2001 18:01:17 +0200
From: "ALAS" <alas {AT} ath.forthnet.gr>
Subject: TRANSDANCE research lab on DANCE & TECHNOLOGY

This is a multi-part message in MIME format.

- ------=_NextPart_000_004A_01C0AFD5.6DBEF5A0
Content-Type: text/plain;
Content-Transfer-Encoding: quoted-printable

''e-phos 2001''
3rd International Festival of Film and New Media on Art
 23 May -2 June/ Athens, Greece

r e s e a r c h  l a b=20
body, movement, technology

May 23-31, 2001
IME, Athens, 254 Pireos str.

e-mail:alas {AT} ath.forthnet.gr

e x p l o r a t i o n   a r e a s=20
a)  neologisms of corporeality in digital perfoming arts
b)  interactivity in tele perfomance as choreography phenomenon
p a r t i c i p a n t s=20

Matt Adams, artistic director "Blast Theory"=20
Maria Anthimidou, artistic director/choreographer "Dancers Group"=20
Sophia Licouris, choreographer=20
John McCormick, choreographer "Company In Space"=20
Dimitris Papaioannou, artistic director/choreographer "Ground Group"=20
Alexandros Psichoulis, video artist
Konstantinos Rigos, choreographer "Oktana Group"=20
Yacov Sharir, choreographer
Konstantinos Vita, music designer
Christian Ziegler, architect, multimedia designer

p r o c e s s  a d v i s o r=20
Scott De Lahunta

in collaboration with=20
British Council, IME, Dance Festival of Kalamata,
Ministry of Culture, Ministry of Development,
Tanz Perfomance Kologne


- ------=_NextPart_000_004A_01C0AFD5.6DBEF5A0


Date: Mon, 19 Mar 2001 12:04:57 -0800
From: "Talan Memmott" <talan {AT} percepticon.com>
Subject: BeeHive Volume 4 : Issue 1 is now ONLINE!


BeeHive Hypertext/Hypermedia Literary Journal

Volume 4 : Issue 1   |...|   March 2001
ISSN: 1528-8102





insights on and interview of Australian Performance Artist, Stelarc...





a variable tale...





visual poetry...





short fiction...





short fiction...





photo's and verse...




(design and coding by paul ruxton)
minimalist postry in DHTML...



BeeHive ArcHive:


Highlights include:


NY/SF POETRY COLLECTION : 30 Poets from San Francisco and New York




BeeHive Creative Director: Talan Memmott / beehive {AT} percepticon.com

BeeHive Associate Editor: Alan Sondheim / beehive {AT} percepticon.com
BeeHive Poetry Editor: Ted Warnell / beehivepoetry {AT} percepticon.com

BeeHive Hypertext/Hypermedia Literary Journal is
produced and published by


copyright 1998-2001

Techinical Note:
Due to Netscape's total departure from their own previous propritery DHTML
some work within BeeHive is not compatible with NETSCAPE 6.0.

Over the next few months BeeHive will be working hard to make as many
archived works as possible
compliant with the W3C Document Object Model and NETSCAPE 6.0.



Date: Mon, 19 Mar 2001 23:11:25 -0800
From: z {AT} apiece.net
Subject: Opacity and transparency-call for entries

Opacity and transparency

Protocols; dynamic IP generating; on the fly data gathering: the search
for a language that delineates the current from the past. The  Medium is
the message.

Clouds of sky, flush of toilet, a burst of laughter. What has a
data-packets-infested household actually done to us? The Medium is not
the message.

What constitutes the kernel of netart: network as art, art rides on the

A survey of the polemic approach to what concerns us in a wired world.

submissions will be considered for an upcoming net-show featuring
artists working online with those respective interests.

please send url and brief statement to z {AT} apiece.net


Date: Tue, 20 Mar 2001 14:49:16 +0100
From: Florian Cramer <paragram {AT} gmx.net>
Subject: [essl {AT} eunet.at: =?iso-8859-1?B?bUB6ZbA=?= =?iso-8859-1?Q?2?= - released on www.tape.at]

- ----- Forwarded message from "Dr. Karlheinz Essl" <essl {AT} eunet.at> -----

From: "Dr. Karlheinz Essl" <essl {AT} eunet.at>
Subject: m {AT} ze°2 - released on www.tape.at


Karlheinz Essl's solo album m {AT} ze°2 (© 1999) which was originally
released as a limited CD edition with artwork by Werner Korn is now
available on the Net. Thanks to www.tape.at you can listen to it
online and download all tracks as MP3 files.

More information at:


Please spread the news.
- --

Dr. Karlheinz Essl
composition - performance - improvisation
Studio for Advanced Music and Media Technology (Austria)

- ----- End forwarded message -----

- -- 
GnuPG/PGP public key ID 3D0DACA2 


Date: Tue, 20 Mar 2001 11:03:27 -0800 (PST)
From: Steev Hise <steev {AT} detritus.net>
Subject: Re: <nettime> FW: Anna Kournikova Deleted by Memeright Trusted System

the nearer (and more possible) future may be even more


(courtesy Radio Luchalibre- http://www.radioluchalibre.com )

Steev Hise, Automagickal Adept
steev {AT} detritus.net	   http://detritus.net/steev
- -----------------------------------------------------------------
"...dissatisfaction itself became a commodity as soon as economic
 abundance could extend production to the processing of such raw
            -Guy Debord
- -----------------------------------------------------------------


Date: Tue, 20 Mar 2001 16:19:34 -0500
From: Free Software Foundation <pr {AT} gnu.org>
Subject: New mailing list for press release information

You are receiving this message because we (the Free Software Foundation
and/or the GNU project) have corresponded with you in the past on a matter
related to the press.  Perhaps you interviewed someone from the FSF or
contacted us for research on an article.  Or, perhaps we simply had you
recorded as a contact concerning media related issues in your organization.

Because of this, we wanted to let you know about the existence of a
low-traffic, moderated mailing list we have just created, called
<info-press {AT} gnu.org>.  On this mailing list, we will post press releases and
other information about the GNU project and the FSF that would be of
interest to the media.

We would like to invite you to join this list.  You can join it by visiting
http://mail.gnu.org/mailman/listinfo/info-press, or by emailing
<info-press-request {AT} gnu.org> with a message whose contents is "subscribe".

Alternatively, you can reply to this message and ask us to add you to the

Thank you for your time.  We want you to know that this unsolicited email is
a one-time occurrence---simply to announce the existence of this mailing
list to our existing media contacts.  You won't receive press announcements
unless you actually join the new mailing list.


Public Relations Department <pr {AT} gnu.org>
Free Software Foundation


Date: Tue, 20 Mar 2001 16:35:42 -0500
From: Ana Viseu <ana.viseu {AT} utoronto.ca>
Subject: Privacy Lecture Series - Privacy, Autonomy, and the Limits of Technology - Monday, March 26 (6 to 7,30pm)



MONDAY, March 26, 2001
TIME  CHANGE: 6:00 to 7:30 p.m.

George Radwanski
Privacy Commissioner of Canada

140 St. George, Room 728
Faculty of Information Studies (building adjacent to Robarts Library)
University of Toronto

This lecture explores the relationship between technology and privacy and 
the impact of the new Personal Information Protection and Electronic 
Documents Act. Commissioner Radwanski argues that the issue is more than 
simply a technological one requiring a technological solution, and that 
responsiblity for the protection of privacy cannot simply rest with 
individuals, no matter how technologically sophisticated they may be.

The lectures are free of charge, and there is NO need for registration.

If you would like to receive the announcements from the Privacy Lecture 
Series please register at <http://privacy.openflows.org>

For more info contact:
Ana Viseu <ana.viseu {AT} utoronto.ca>
Robert Guerra <robert {AT} cryptorights.org>
- ----++++----++++----
Tudo vale a pena se a alma não é pequena.


Date: Wed, 21 Mar 2001 12:57:59 -0500
From: turk <turk {AT} monochrom.at>

- - von den Regisseuren des Glücks 

im fundernovum  in St. Veit/Glan - Glandorf, Klagenfurter Str. 87-89. 
Samstag, 31. März  2001, ab 20 Uhr 

mit drehli robnik, maschek, monochrom, Dj Super Tronic und magnetpnp 


"Die Welt ist alles, wo man sich wohlfühlt," hat der beliebte
österreichische Sprachphilosoph Ludwig Wittgenstein geschrieben. 
Zumindest hat er es so gemeint - bzw. hätte er es so geschrieben, wenn
er inniger mit Kärnten vertraut gewesen wäre. 

Die auf bedingungslosen Kult hin designte Veranstaltung WOHLFÜHLWELT (am
31. März ab 20 Uhr im fundernovum in St. Veit/Glan - Glandorf) setzt
alles daran, uns die Poesie des Fremdenverkehrs hautnah erleben zu

Es geht um die überschwängliche Rhetorik, mit der österreichische
Tourismuswerbung (nicht nur, aber vor allem in Kärnten) soziale und
geografische Räume bewirbt und sie dabei zugleich im Wege einer
Verwandlung hervorbringt: Einschlägige Begriffe wie "Märchenalm",
"Aromagrotte", "Landidyll", "Sehnsuchtswelt", "Kraftplätze", aber auch
"Wohlfühlpauschale" oder "Spielkameradengarantie" - das sind nicht nur
bizarre Wortneuschöpfungen, die an Stilblüten, Drogenlyrik und
romantischen Seelentaumel erinnern. Diese (auch im folgenden wörtlich
zitierten) Formulierungen schaffen auch vollendete Tatsachen: das Faktum
einer ebenso symbolischen wie sinnlich erlebbaren Welt in vollendeter
Harmonie mit der Befindlichkeit und Kaufkraft ihrer Zielgruppen. 

Ist ein Hotel noch ein Gebäude bzw. ein Beherbungsunternehmen, wenn es
als "Wellness Hotel", "Harmony Hotel", "Romantik-Hotel",
"Landidyll-Hotel" oder "Hotel des Glücks" beschworen wird? Geht es noch
um etwas so Banales wie Freizeitgestaltung, wenn "Ferien mit allen
Sinnen" gemacht werden? 
Ist das bloße Kartenspielen gemeint, wenn von der "Kunst des Schnapsens"
die Rede ist? Oder grenzt es an einen Akt der Welterschaffung, wenn ein
Fremdenverkehrs(bundes)land zur "Oase des  Wohlbefindens" wird und "das
heimliche Österreich" uns "wie eine andere Welt" erscheint, die zugleich
"deine eigene Welt" ist? Die zwischen New-Age-Euphorie und
antimodernistischer Regression lavierende Fremdenverkehrspoesie, die
Heimat und Fremde ineinander verkehrt, verknüpft spirituelle
Offenbarungsmystik mit dem Urvertrauen in die konsumierenden Sinne. Es
scheint um elementare Dinge zu gehen - um ein "Eintauchen", eine
"Entdeckungsreise", "unterwegs zu sich selbst", durch "eine Landschaft,
die die Seele mit den Archetypen des Menschseins verbindet und uns auf
unbekannte Weise ankommen lässt." 
Jedenfalls ist die WOHLFÜHLWELT nicht einfach ein Ort, wo man untätig
herumhängt, bis man sich erholt hat; vielmehr sind wir dort existenziell
gefordert, aufgerufen zum ekstatischen Mensch- und In-der-Welt-Sein.
Verordnungen wie "Spüren Sie die Magie der Landschaft!", "Genießen Sie
mit allen Sinnen!" oder "Tun Sie es einfach!" lassen daran keinen

In diesem Sinn geht es bei WOHLFÜHLWELT darum, es einfach zu tun. 
Im demütigen Bewusstsein, dass sich das Projekt der touristischen
Neuschöpfung von Welt, Sinn und Menschlichkeit kaum übertreffen oder
satirisch überhöhen lässt, macht sich WOHLFÜHLWELT einen Spaß daraus,
die Fremdenverkehrspoesie einem Realitätstauglichkeitstest zu
unterziehen, sie auseinanderzunehmen und falsch wieder zusammenzubauen. 

WOHLFÜHLWELT macht gastfreundliche Demagogie zum Kunsterlebnis, das sich
anfühlt wie Verarschung und Entertainment - mit den Mitteln von
Architektur und Installation, Comedy und Performance, Varieté und
Dancefloor, im Geist des produktiven Missverständnisses, des 
Understatement, der gebrochenen Immersion und der handgreiflichen

In die WOHLFÜHLWELT (und damit ganz zu uns selbst) gelangen wir durch
das "Panorama des Staunens", das dem Jahrhunderte alten carinthischen
Brauch des GTI-Fahrens gewidmet ist; dort können wir auf 72 Autoreifen
sitzen, den Gummigeruch mit allen Sinnen in uns aufnehmen, den Sound und
Speed von GTI auf Video genießen - oder weitergehen auf unserer
Entdeckungsreise, ins "Glückszimmer": Sandstrand und Landschaftspanorama
machen Verweilen zum Ereignis, Gucklöcher gewähren Einblicke in unser
persönliches Ich. Manche von uns wird es weiter ziehen, in die "Herberge
der Träume", wo uns ein majestätischer (150cm hoher) PingPong-Tisch
erwartet, mit Anleitungen zum Tischtennisspielen aus beliebten
Spielfilmen, eingehüllt in eine urige Speckwolke und ausgestattet mit 50
PingPong-Schlägern, auf denen der traditionelle Kärntner Wahlspruch
"Speck und Sport" ans gemeinsame Kulturerbe erinnert. 

Was in unserer Hektomatik-Welt oft gedankenlos "Bühne" genannt wird, ist
in der WOHLFÜHLWELT die "Erlebnisoase": ein Podest, in den
(wahrnehmungspsychologisch ganzheitlich temperierten) Kärntner
Landesfarben, auf dem anerkannte Animatoren und Unterhaltungskünstler
uns mit ihren Possen entspannen: Satirische Darbietungen der
Kulturvereine "monochrom" und "maschek" (etwa das lichtbildunterstützte
Heimatgedicht "Unser schönes Kärnten") lassen uns endlich wieder Mensch
sein. Darüber hinaus werden die weit über die Bundeshauptstadt hinaus
beliebten Disk-Jockeys Drehli Robnik und Super Tronic uns mit deftigen
Moderationen seelisch ankommen lassen und einen musikalischen
Schmankerlmarkt auftischen, der den Dancefloor in einen Kraftplatz

Abgerundet wird die Synfonie des Wohlbefindens in der "Sehnsuchtswelt",
wo wir uns an der Bar einem reichen Sortiment von "Mir tut es
wohl"-Getränken mit Vollrauschgarantie hingeben oder an fünf
Diaprojektoren Old-School-Memory spielen können. Um uns schließlich in
jeder Facette den "Alltag als Event" empfinden zu lassen, werden die
Kosettanlagen mit einer Sound-Installation bespielt, die zum
"Eintauchen" einladet. 

Die Regisseure des Glücks 

Was maschek tun, ist nur insofern Videokunst, Kabarett oder 
Politsatire, als man das zum Glück nicht merkt. Sie tun es live oder 
auf Video, in Diskussionsrunden oder durch Nachvertonung von 
Bildmaterial aus dem staatlichen Privatfernsehen und aus dem 
Foto-Archiv der Flohmärkte und Altwarentandler. Drei Tugenden halten 
die maschek-Welt zusammen: Bildungsanspruch, Hang zur Fälschung ohne 
Trennschärfe zum Ernstgemeinten, Hassliebe zum Österreichischen. 
Besuchen Sie doch einfach die Spassfraktion der 
Found-Footage-Avantgarde bzw. den Bildungsflügel der Retro-Kultur 
unter www.maschek.org. 

der verein (seit kurzem religion) zur foerderung der selektiven 
rezeptionsforschung im sinne futurologischer belange im kern aus 
johannes grenzfurthner, evelyn fuerlinger, harald homolka list, franz 
ablinger, frank apunkt schneider. als hansdampf in allen codes, wo 
rein gar nichts einer anderen programmatik folgt als der anhäufung 
von interessanz, stimuliert monochrom die organe breitflächig und 
nahezu aggressiv - scheißt einen foermlich zu mit selektion. jeder 
person ist es überlassen was sie in ihrer freizeit tut. 
we are mötley diskurs and you are not. auch kulturschaffende sind 
menschen mit gefühlen. 
und obwohl wir wissen, dass wir nur staub sind, stehen wir total auf
erscheinen sie zahlreich, wenn möglich manisch (und schon vorher 
unter www.monochrom.at) 

Drehli Robnik 
geboren 1967 in Wien-Erdberg. Unsympathischer Wiener, sprechender 
Disk-Jockey, Musikveranstalter (Soft Egg Café Vienna/Flex; 1997-2000, 
Hot Lotion/B72, zusammen mit Peter Hörmanseder, seit 2000); 
Entertainer mit selbstauferlegtem Bildungsauftrag, zeitweiliger 
Fernsehmoderator (Wiener Privatsender TiV 1998/99), ehemaliger Rock- 
und Popsänger (Die Guten 1995-2000, RevoxRevue 1998-2000); 
Filmkritiker bei der Wiener Stadtzeitung Falter; Film- und 
Kulturwissenschaftler; diverse Publikationen zur Theorie und 
Geschichte des Genrekinos. Lehrbeauftragter am Institut für Theater-, 
Film- und Medienwissenschaft und am Institut für Geschichte der Uni 
Wien. Lebt seit jeher in Wien-Erdberg. 

DJ Super Tronic 
Das hochenergetische Ein-Mann-Dienstleistungsunternehmen Super Tronic 
agiert als Schallplattenunterhalter im genuinen Sinne. Dem 
kollektiven, gerne auch bis zur ekstatischen Ausgelassenheit 
reichenden Wohlbefinden verpflichtet, kennt er weder Hemmunungen noch 
falsche Scheu. Der gute Vibe ist sein Auftrag, die dafür verwendeten 
musikalischen Mittel sind 
manigfaltig. Denn Groove ist ja bekanntlich eine Angelegenheit des 
Herzens, und Häuser sind da, um gerockt zu werden. 


Herwig Turk 
mitverantwortlich für Transformator-Computer und Videokunstfestival
St.Veit/Glan 1991; diverse Projekte von HILUS zwischen 1992 und 1996
unter anderem: Unitn -Mediaspace, Projektraum WUK/Wien 1993; vergessen©
in Wien, NewYork, Brno, Basel, Berlin, St.Veit/Glan 1996-99; 

Patrik Papesch, Albert Kraschl 

Wir wollen die Reizschwelle nicht noch höher setzen, sondern Sie mit
"kleinen", ganz individuellen und persönlichen Glücksmomenten

Wir bieten dieses All-Inclusive-Angebot inklusive Spielkameradengarantie 
nur am 31.März 2001 ab 20.00 Uhr zum "Ich will"-Preis. 

Wir sind glücklich, wenn Sie zufrieden sind. 
Wir sind aber erst zufrieden, wenn Sie begeistert sind.


Date: Sun, 18 Mar 2001 08:07:45 -0800
From: "PLANETWORK" <info {AT} planetworkers.org>


PLANETWORK: Global Ecology and Information Technology

SATURDAY MARCH 24, 2001 7:30 PM
83 Spring Street, New York  $12*
Registration: 212 219 2527
(*First 20 tickets are FREE!! To qualify send us an email with your name in the 
subject line: info {AT} planetworkers.org. You will receive a confirmation by return 

for a lively evening of discussion, networking and strategy for harnassing new 
digital media tools and the Internet to build a sustainable future. 
Focussed on activism and independent media, topics will range from new 
networking and web-based campaign strategies to click-actions;
hacktivism to funding issues,  as well as a discussion about the 
possibilities and challenges ahead in the 'post-dot.com' world.

PLANETWORK is a California-based, international, interdisciplinary "link-tank" 
for Cyber Greens, dedicated to providing forums for innovators from a wide range 
of backgrounds to share their visions of how the Internet and global information 
technology might help adaptively transform human culture and activate awareness 
of both environmental problems and their solutions.

In May 2000, PLANETWORK convened a large-scale conference in San Francisco that 
gathered over 700 people from a wide spectrum of fields, from information 
technology and green e-commerce, to ecology and biology, the arts, new media and 
education and environmental activism. 

For more information: www.planetworkers.org



Date: 18 Mar 2001 19:30:07 MST
From: Immediacy Editorial Board <immediacy {AT} usa.net>
Subject: New issue of Immediacy is now on-line

The new issue of Immediacy
(http://www.newschool.edu/mediastudies/immediacy/), the web
publication of Media Studies Department of The Newschool University, is
now on-line. The new issue, (Volume 2 Number 2, 2000) titled "In The
Mix 2000", features the following selected student works of the past

- - "To Dream, To Die: Stanley Kubrick's Eyes Wide Shut" by Roy Brand
This paper examines issues concerning social criticism, the industry
of fantasy, and the psychology of the view through a detailed
interpretation of  Stanley Kubrick's film Eyes Wide Shut.

- - "Nausea: Nauseating Mortality or American Media" by Leili Gueranfar
(streaming audio)
A peek into what could have been the awakening, alienation, and death
of American artist David Wojnarowicz.

- - "125th Street Drama" by  Manuel Lopez (streaming audio)
Narrated in a documentary style, this "audio-fiction" portrays the
collective agitation in a Harlem condominium after one of the
residents has mysteriously disappeared.

- - "Wildman on the ChessBoard" by Maria Lovett (streaming video)
Wildman on the Chessboard is a short documentary film about a homeless
chess player in Washington Square Park and the significant
relationship between people and experiences in everyday life.

- - "Rhythm A La Turka" by Omer Ali Kazma (streaming video)
Two men seemingly obsessed with language use repetition, rhythm, and
rhyme to conceal and sometimes reveal meaning in a peculiar

- - "Prime Time '99: The Absent Black Narrative" by Tabanitha McDaniel
This essay focuses on  Fall 1999 when the dearth of Black
representation on television became a hot issue. McDaniel examines the
socio-political implications of an absent Black narrative and proposes
solutions for a truly multicultural viewing experience.

- - "TV Ratings: Of Myth and Reality" by Radhika Nanda (article)
Nanda demystifies the circulation of commodities in the cultural
universe of television in an essay that critically questions the basis
of sophisticated techniques used to harness the intangible and
unreprentative nature of television viewing behavior.

- - "Symphony East - West" by John Plenge (streaming audio)
An audio collage combining Asian and Middle Eastern music traditions
with Western classical and pop instruments.

- - "Media Elision" by Carol Wilder (article)
"Media Elision" asks the question: Have we witnessed a complete genre
meltdown in the past thirty years?  Have we accomplished a complete
blurring between fact and fiction, politics and entertainment?  And if
this is the case, what does it mean for mediated culture?

- - "And now happiness …" by Tung Wang Wu (streaming video)
Tung's second film, And now happiness explores the filmmaker's
complicated relationship with his mother as a way of understanding his
hatred from her point-of-view.

- - "Sign of Times: The Promise of Prosperity" by Eric Zechman (article)
Both the mainstream media and U.S. politicians continue to proclaim
that these are the best of times.  Eric Zechman wonders how the
average American experiences this prosperity and what is the
significance of the overwhelming popularity of the television game
show "Who Wants to Be a  Millionaire?"

Please visit Immediacy web site for more:
or mail to: immediacy {AT} usa.net
Immediacy Editorial Collective

- ----------------------------------------------------------
IMMEDIACY is an on-line discussion forum for Media, Arts and Culture sponsored
by The New School University Media Studies Department.
e-mail: immediacy {AT} usa.net
- ----------------------------------------------------------

Get free email and a permanent address at http://www.netaddress.com/?N=1


Date: Mon, 19 Mar 2001 13:48:06 +0100
From: Frieder Rusmann <rusmann {AT} kunsttot.de>
Subject: For the Natural Death of the Work of Art  [www.kunsttot.de]

For the Natural Death of the Work of Art

Frieder Rusmann


Date: Mon, 19 Mar 2001 12:58:43 +0100
From: PRPGND {AT} 0100101110101101.ORG
Subject: /// 0100101110101101.ORG /// life_sharing

/// PRPGND /// HTTP://WWW.0100101110101101.ORG ///

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/// from "Gallery 9 / Walker Art Centre", 01 jan 2001
/// http://www.walkerart.org/gallery9/lifesharing

0100101110101101.ORG / life_sharing

[…] life_sharing is an anagram of "file sharing". life_sharing is a
computer sharing its hard-disk with the whole world, making all its
contents accessible via Internet. "All" does’t mean a directory of the
hard-disk but the whole content of the computer: programs, system (all
the software used is open source), desktop, archives, tools, ongoing
projects, mailboxes and so on. From the moment life_sharing started,
every Internet user has free access twenty-four hours a day, 365 days a
year to 0100101110101101.ORG’s computer: they can rummage through
archives, search for texts or files they’re interested in, check the
software, watch the "live" evolution of projects and even read
0100101110101101.ORG’s private mail.

Users can access the contents through their browser, thus no particular
technical abilities is required, only the basic notions necessary to
surf the web. The computer contents are not periodically uploaded -
thing that is usually necessary to update a web site - because
0100101110101101.ORG is working directly on the shared computer - the
web server - so that users follow the development of the work in real
time, they are always present and up-todate.

The idea is both simple and full of implications that go beyond the
concept of a work of art being an object of contemplation, and raises
political, sociological, philosophical and informational issues.
life_sharing determines and underlines problems and contradictions that
are no loner aesthetic, they are ethical.

The first of these problems is evidently privacy. life_sharing
represents a radical subversion of the concept of privacy, a clear
inversion of the perspective from which it has always been considered
and discussed. life_sharing is the "empirical" demonstration that on the
Internet is possible to experiment new forms of interaction and
networking, on the condition that we are willing to leave evidently
obsolete practices behind us. It is not a utopia, it is a practice that,
once started, is going to become part of our everyday life.

Another issue raised by life_sharing is the intellectual property
question: the proposal is not a complete abolition of copyright, but its
substitution with the GPL (Gnu General Public License -
http://www.gnu.org ).

Extract from the Gnu General Public License: "Licenses for most software
are designed to take away your freedom to share and change it. By
contrast, the GPL is intended to guarantee your freedom to share and
change free software - to make sure the software is free for all its
users. This General Public License applies to most of the Free Software
Foundation’s software and to any other program whose authors commit to
using it. You can apply to it to your programs too. When we speak of
free software, we are referring to freedom, not price. Our General
Public Licenses are designed to make sure that you have the freedom to
distribute copies of free software (and charge for this service if you
wish), that you receive source code or can get it if you want it, that
you can change the software or use pieces of it in new free programs;
and that you know you can do this things. To protect your rights, we
need to make restrictions that forbid anyone to deny you these rights or
to ask you to surrender the rights. These restrictions translate to
certain responsibilities for you if you distribute copies of the
software, or if you modify it."

Untill now, the GPL, has been applied only to programs, with great
succes both economical and "cultural". 0100101110101101.ORG wish to
apply the open source model (so a license directly inspired by the GPL)
also to works of art. This statement is a concrete proposal: to truly
share intellectual properties, beginning from our own, every day.

First published by Gallery 9 / Walker Art Centre for life_sharing by
0100101110101101.ORG http://www.walkerart.org/gallery9/lifesharing

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/// PRPGND /// HTTP://WWW.0100101110101101.ORG ///


Date: Tue, 20 Mar 2001 16:39:25 -0500
From: Angela Plohman <aplohman {AT} fondation-langlois.org>
Subject: The Daniel Langlois Foundation

Press Release

The Daniel Langlois Foundation & the Cinémathèque québécoise present:

Red Dice by American artist Bill Seaman

Montréal, March 22, 2001 - From March 22 to April 22, the Daniel Langlois
Foundation for Art, Science, and Technology is proud to present, in
collaboration with the Cinémathèque québécoise, Red Dice (2000) by American
artist Bill Seaman.

Commissioned in 1996 by the National Gallery of Canada, the interactive
installation Red Dice is a homage to the poem Un coup de dés jamais
n'abolira le hasard (Dice Thrown Never Will Annul Chance), written in 1897
by the celebrated 19th-century French poet Stéphane Mallarmé (1842-1898).
Drawing on the still-fresh innovative force of this landmark in modern
poetry, Bill Seaman has produced an arrangement of elements that invites the
viewer to juggle words, images and music. 

Approaching Red Dice, the viewer will find an electronic tablet and pen.  On
the tablet, Mallarmé's poem will appear, arranged to faithfully match the
original layout of his words. Mallarmé was ahead of his time when he wrote
Un coup de dés jamais n'abolira le hasard, a revolutionary piece that
challenges the reader's sense of order. The poem is sometimes considered one
of the earliest examples of non-linear reading, similar to today's
experience of navigating the World Wide Web.  Viewers of Red Dice can
digitally page through the entirety of the poem on the tablet, or they can
touch the poem with the pen and activate Bill Seaman's fragments of images,
words and music. Other viewers in the room can follow the actions of the
person navigating the work via two projections on the wall.

Seaman describes the experience of navigation in Red Dice as floating,
skating over or flying between images, words and sound, in a choice of two
languages, creating a "recombinant poetics."

In the video that forms the base of the work, Seaman also suggests a
connection between old and new technologies by showing the punched-paper
programs used for the mechanical loom, the mill and the player piano-devices
that are the ancestors of today's computers.

"An adaptation of Mallarmé's poem in the form of an interactive
installation, Red Dice goes beyond mere illustration with its evocative
power, which is enhanced by the combinatory arrangement generated by the
computer program orchestrating the work's visual, acoustic, linguistic and
conceptual elements," says Jean Gagnon.

Born in 1956 in Kennet, Missouri, Bill Seaman began his career as a
performance artist and discovered video in the 1980s. He received a Master
of Science in Visual Studies in 1985 from the Massachusetts Institute of
Technology, Cambridge. His studies there allowed him to explore interactive
technology and computer-based art.  In 1999, Seaman completed a PhD at the
Centre for Advanced Inquiry in the Interactive Arts at the University of
Wales, Newport. His work has been exhibited around the world and he has won
several international awards. He is currently a professor in the Department
of Design/Media Arts at the University of California, Los Angeles.

The exhibition Red Dice will be presented from March 22 to April 22, 2001 in
the Norman-McLaren room at the Cinémathèque québécoise, 335 De Maisonneuve
Boulevard East, Montréal. For information on opening hours and admission,
call (514) 842-9763 or visit http://www.fondation-langlois.org. 

- - 30 -

Jean Gagnon
Exhibition curator and
Director of Programs, Daniel Langlois Foundation
for Art, Science, and Technology
Audrey Navarre
Assistant to the Director of Programs
(514) 987-7177 


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