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Table of Contents:
Information Producers Initiative
Andreas Broeckmann <abroeck@transmediale.de>
comp3.mov
computer fine arts <doron@computerfinearts.com>
ABSOLUTE ONE
Aurora Fonda <spignotti@iol.it>
Expand - Call for participation
Mari Keski-Korsu <mkk@students.llaky.fi>
Book annoncement: The Language of New Media by Lev Manovich
Lev Manovich <manovich@ucsd.edu>
convergence01 festival . [creating culture for a better world]
"Gustavo Barbosa" <gustavo.listas@iname.com>
txt: The art of warmaking
ana peraica <ana.peraica@janvaneyck.nl>
The Daniel Langlois Foundation Launches A Program Of Grants For Researchers In R
Felix Stalder <stalder@fis.utoronto.ca>
steim nato.0+55 galla zpektakl
integer@www.god-emil.dk
------------------------------
Date: Mon, 23 Apr 2001 10:05:04 +0200
From: Andreas Broeckmann <abroeck@transmediale.de>
Subject: Information Producers Initiative
Date: Mon, 23 Apr 2001 01:27:37 -0700
From: Seth Johnson <seth.johnson@realmeasures.dyndns.org>
I am starting a project called the Information Producers Initiative.
I have pasted a draft of a basic position paper below. I would like
very much if I could obtain comments on it, perhaps through this list
and/or other public fora. It is a very general foundation on which
specific policy positions are meant to be based.
I am presently considering developing commentaries on HIPAA (a federal
law addressing medical records privacy) and the Tasini and Napster
cases.
I am specifically interested in obtaining any information regarding
other initiatives that might be similar to this, and what's been tried
and what happened to these initiatives.
I have set up a list for people who are interested in these matters.
Subscription is by sending an email saying "subscribe C-FIT_Community"
to ListServ@realmeasures.dyndns.org.
Forward this message freely as you wish.
The text below is also available at:
http://RealMeasures.dyndns.org/C-FIT
Thanks for your help,
Seth Johnson
Committee for Independent Technology
seth.johnson@realmeasures.dyndns.org
The Information Producers Initiative
A Project of the Committee for Independent Technology
The Committee for Independent Technology holds that a proper
consideration of information-related public policy must focus on what
the state of technology means for all citizens.
We believe that a well-founded understanding of the condition in which
citizens presently find themselves as a result of information
technology, should focus on one fundamental principle.
This principle is that information is used to produce new information.
To put another cast on the same point, information that is accessible in
whatever form has never merely served the purpose of consumption. This
may seem to be an obvious point, but when it is considered in light of
the new modes of public access that have developed, and the flexible
means of using information that are now at hand, one sees that this
principle is more important now than it may ever have seemed to be
before.
In the past, only specific groups of people, engaged in specific types
of activities, had their interests assessed in terms of their capacity
as information producers. The public at large has been treated as mere
consumers of information in many areas, with public policy reflecting
this tendency.
Now, however, we all have the capacity to participate in the development
of human knowledge, on a reasonably equal footing with all other
citizens, because of the forms of access to the public sphere that are
now available, and to the forms of information that may be found there,
by means of public communications networks such as the Internet. This
puts us all in an entirely new position with respect to our abilities to
access, manipulate and produce information.
We may now manipulate information in a profoundly flexible way. We may
quickly access any work that is available electronically on public
communications networks. We may, with great facility, decompose any
digitized work into component parts. We may manipulate, analyze,
synthesize, select and combine the conclusions, observations, discrete
facts, ideas, images, musical passages, binary bits and other elements
of any information in digital form. We may efficiently produce useful,
meaningful and creative expressive works on the basis of this flexible
access to information.
But perhaps the most far-reaching way in which information technology
affects our condition as citizens, is in the fact that we may all now
distribute our information products to the public at large in a powerful
and convenient manner that obviates the need to rely on publishers and
other intermediaries who have traditionally provided public access to
information producers.
We must no longer allow our rights in the area of the access to and use
of information and information technology, to be regarded merely as
rights of consumption. All citizens must assure that policy makers no
longer treat their interests in information merely with respect to their
capacity as consumers. We must advocate for and guard our broader
interests as information producers in equal standing in the public
sphere, possessing essential powers and rights in the access, use and
communication of information.
The Committee for Independent Technology seeks to assure that the rights
and capabilities of all citizens are not undermined through public
policies that restrict the ordinary exercise of their rights to access
and produce information by flexible means.
------------------------------
Date: Mon, 23 Apr 2001 12:36:21 -0500
From: computer fine arts <doron@computerfinearts.com>
Subject: comp3.mov
.
http://www.computerfinearts.com/comp3/
.
data: 51 kb/s
duration: loop 23:22 sec
quicktime streaming media
.
------------------------------
Date: Tue, 24 Apr 2001 12:09:56 +0200
From: Aurora Fonda <spignotti@iol.it>
Subject: ABSOLUTE ONE
[sorry for cross posting]
ABSOLUTE ONE
49th International Art Biennale of Venice
Press opening: June 6, 7, 8, 2001; Official opening 9th June 2001.
Pavilion of the Slovene Republic
Galleria A+A, San Marco 3073, Venice 30124. Tel/Fax 041 2770466 e-mail:
spignotti@iol.it Press office: Roberta Lombardo:
hurstel.roberta@wanadoo.fr
Nomination of the Slovenian Pavilion Curator
At a meeting on 27 January 2001, the Slovenian Republic’s Minister of
Culture, Andreja Rihter, nominated Aurora Fonda curator of the Slovenian
Pavilion at the 49th Venice Biennale.
Two artists, who are already established in their own country and
on the international scene, have been chosen to represent Republic of
Slovenia at the 49th Venice Biennale. One of them, Vuk Cosic, could be
considered a pioneer of art on the net; the other, Tadej Pogacar, is the
inventor of new parasitism and director of the P.A.R.A.S.I.T.E. Museum
of Contemporary Art. And a foreigner guest has been invited to work with
them on the particular issue presented in the pavilion, the group of the
0100101110101101.ORG
Absolute one has one of Kelvin’s absolutes as a starting point,
having been conceived in the belief of absence of movement at a
molecular level and in the conviction that entropy, in its concept of
zero, is equal to zero. Absolute one concludes its interactive course
with the idea that absolute movement exists. It arrives at the idea that
the absolute one means a binary, or in information technology, the
opposite.
With Absolute one the Slovenian Pavilion offers a strong signal
full of optimism in place of rampant fatalism and the idea of
inevitability, starting with the fundamental question about how the
artist can work constructively and respond actively to the process of
globalisation.
With their work, Cosic, Pogacar and 0100101110101101.ORG investigate
the problems of alternative economic practice and the relationship
between art, technology and society.
. -.-.-.-
Collateral events
- - A forum has been activated on http://www.exibart.it, with the title
Absolute One
- - Further forums have been set up for talking about the concept on
http://www.exibart.it and http://absoluteone.ljudmila.org.
- - Specific texts commissioned by the organisation have been written on
the theme.
- - The publication of a catalogue with the results of the
experimentation.
. -.-.-.-
The web site and the catalogue are including texts and interviews
written by economists, sociologists, philosophers, art critics on
globalisation and its effects on the contemporary society (George Soros,
M. R. Bosrock, Salvoj Zizek, Viktor Misiano, Carlos Basualdo, Olu
Oguibe, Tim Druckery, Marina Grzinic, Mark America) The different point
of view are offering a wide spectrum of the phenomena and on the web
site it gives the possibility to express the personal opinion on the
activated forum.
Vuk Cosic is one of the pioneers of net art, and his works can be seen
on all the major sites in the world. He does not use sophisticated
technology, but is an advocate of works of art based on low technology.
It should be said that his low-budget technological creations produce
works which do not require the continuous and costly evolution of
technology. His works are visible in the web site of major international
art institutions.
Tadej Pogacar is the director and founder of the P.A.R.A.S.I.T.E
Museum, an institution which works outside conventional artistic and
economic channels. He is one of the successful artists in the sector who
has underlined the importance of the argument, whose notions are defined
by mimicry, subversive networks, nomadism, the parallel economy and
donations. New parasitism is developed in a specific cultural and
temporal framework, as a result of the recent post-capitalist market
economy, incredible technological progress and a mixture of scientific
and artistic concepts. He has exhibited internationally, including
Manifesta.
0100101110101101.ORG The action that made them famous was
the "theft" of the most renowned net.art gallery, Hell.com, which has
always been closed to the public and accessible only with a precious
password. When Hell opened the web site for 48 hours on the occasion of
the ‘Surface’ exhibition, 0100101110101101.ORG downloaded the entire
content of the gallery and created a perfect copy, making it available
to anyone in its web site.. 0100101110101101.ORG work on what they
consider contradictions of the modern cultural system and particularly
the concept of authenticity and authorship, taking advantage of the
manipulation potential offered by the Internet. It should be clear to
anyone that it no longer make sense to speak of originals or duplicates
in the world of digital art.
Aurora Fonda, the new commissioner for the Slovenian Pavilion and
curator of the project, has worked independently for years in the field
of contemporary art as a specialist, organising projects which appear
outside of the usual exhibition spaces, filling everyday places with
actions, performances and exhibitions. Thus the spectator participates
and, to a certain extent, is an actor in the event. She studied history
of art, specialising in contemporary art in Venice. She is involved in
exploring the most advanced expressions of international contemporary
art.
Projects curated by Aurora Fonda include: Paura (Fear, project created
with Oliviero Toscani for Benetton’s Fabbrica Centre of Communications)
and La casa Vestita (The Clothed House) - Biennale 1999. She has also
curated personal exhibitions for Jannis Kounnelis, Enzo Cucchi, and
Lucio Fontana.
------------------------------
Date: Tue, 24 Apr 2001 14:37:09 +0300 (EEST)
From: Mari Keski-Korsu <mkk@students.llaky.fi>
Subject: Expand - Call for participation
Call for Participation
Expand
Date: 25.5.2001
Time: 1900 - 0100 (GMT+2)
Base location: Meteori Cafe, Helsinki, Finland
Cyber Location: http://www.uiah.fi/~mkk/expand (at the moment)
Organizers: Students of the Media Lab at the University of Arts and
Design Helsinki, kide.org, musicians, artists, and other individuals.
The Expand concept is to bring different kinds of creative people
together to participate in an open-platform happening for experiments
and new experiences. The happening will be organized simultaneously
in different club spaces as well as in the Internet space. The basic
framework of the happening will be pre-formatted but it will be
flexible and open to changes and spontaneous actions during the
course of the actual event. Included will be different types of music,
sound and video art, performance, and collaboration.
The participating club spaces will be connected to each other via the
Internet using (Realmedia and mp3 streaming). This will enable the artists
to
cooperate or perform "together" at the same time in different
locations. There will also be an open IRC channel (and iVisit room) for
those who cannot physically
be in the club to participate and webcams for remote observation of
the venues.
Expand is now looking for more participants. The basic idea is to
have constant connection between clubs but it is possible to also
have individual musicians or artists to join through the Internet
connection. Already planned or existing events may also be a part of
Expand in the way that it's not necessary to create totally new club
for it. People contribute the event with audio/video streaming
technologies.
There is also the possibility to join an ongoing project called Tram'n'Bus
which deals with city
identity through music made out of the sounds of public
transportation.
More information about Expand is available in
http://www.uiah.fi/~mkk/expand
and about Tram'n'Bus in
http://www.uiah.fi/~mkk/expand/tram_n_bus
Join also Expand mailinglist in
http://www.kide.org/mailman/listinfo/expand
The mailinglist is the place where everything is happening at the moment,
so it is strongly recommended to join it to keep yourself up to date.
You are very welcome to contact us!
Regards,
Mari Keski-Korsu
mkk@uiah.fi
- --
_______________________________________________________________________________
mkk@uiah.fi Mari Keski-Korsu
http://mkk.kide.org Aleksis Kivenkatu 14 A 24
00500 Helsinki
tel. +358 40 506 5871 FINLAND
- ------------------------------------------------------------------------------
Tell me-I will forget*
Show me-I might remember*
Involve me-I'll keep it forever*
------------------------------
Date: Sun, 22 Apr 2001 23:46:47 -0400
From: Lev Manovich <manovich@ucsd.edu>
Subject: Book annoncement: The Language of New Media by Lev Manovich
I thought readers of this list might be interested in this book. For more
information please visit http://mitpress.mit.edu/promotions/books/MANGHF00
The Language of New Media
Lev Manovich
The MIT Press: March 2001. ISBN 0-262-13374-1.
352 pp., 55 illus. $34.95/=A323.95 (cloth).
"Spend some of your time with this book, as time, in every sense,
will prove that its succinct and careful analysis of new media is the
most fundamental yet dynamic made. It is a must for filmmakers,
communication theorists, television producers, computer scientists,
programmers, cultural critics, artists, cultural historians, and
designers."
Sara Diamond, Artistic Director, Media and Visual Arts, The
Banff Centre
"This is simply the best book that I have read on the aesthetics of new medi=
a."
Jay David Bolter, Wesley Chair of New Media, Georgia
Institute of Technology
"Manovich not only describes the recent history of new media, but its
foundations, and its intellectual and aesthetic debts to such aspects
of media history as Russian Constructivism and early cinema."
Tom Gunning, Professor of Art History and Cinema and Media,
University of Chicago
"Lev Manovich's The Langauge of New Media is a major event for those
of us interested in understanding the nature of electronic
literature and art."
N. Katherine Hayles, Professor of English and of Design and
New Media, University of California, Los Angeles
In this book Lev Manovich places new media within the histories of
visual and media cultures of the last few centuries. He discusses new
media's reliance on conventions of old media, such as the rectangular
frame and mobile camera, and shows how new media works create the
illusion of reality, address the viewer, and represent space. He
shows how categories and forms unique to new media, such as interface
and database, work with the more familiar conventions to make
possible a new kind of aesthetic.
Manovich uses concepts from film theory, art history, literary
theory, and computer science and also develops new theoretical
constructs, such as cultural interface, spatial montage, and
cinegratography. The theory and
history of cinema play a particularly important role in the book.
Among other topics, Manovich discusses parallels between the
histories of cinema and of new media, digital cinema, screen and
montage in cinema and in new media, and historical ties between
avant-garde film and new media.
The book looks at most areas of new media: Web sites, virtual worlds,
VR, human-computer interfaces, computer games, computer animation,
digital video, special effects, and interactive intallations. It also
contains detailed analysis of new media works, from such commercial
classics as Myst and Jurassic Park, to the projects of new media
artists and collectives such as art+com and Jeffrey Shaw.
Most writings on new media are full of speculation about the future.
Manovich book analyses new media as it has actually developed up
until this point, at the same time pointing to directions for new
media designers and artists which have not been yet explored.
Lev Manovich (www.manovich.net) is an Associate Professor in the
Visual Arts Department at the University of California, San Diego.
Born in Moscow, he holds advanced degrees in cognitive psychology and
visual culture. He has been working with computer media for almost
twenty years as an artist, designer, animator, computer programmer,
and teacher. His work has been published in more than twenty
countries, and he frequently lectures on new media around the world.
------------------------------
Date: Mon, 23 Apr 2001 17:35:52 +0100
From: "Gustavo Barbosa" <gustavo.listas@iname.com>
Subject: convergence01 festival . [creating culture for a better world]
FYI...
>quote<
http://www.convergence01.org/
Convergence Festival provides a local focus for the global
celebration of Earth Week. The festival brings together an
astounding variety of positive ideas, projects and initiatives
that promote social justice and encourage a more
ecologically sustainable way of life.
Convergence highlights the critical role played by
communications and the arts in raising awareness and
increasing public participation.
Over the week Convergence will feature a film and new
media festival, three exhibitions, international keynote
speakers, theatre, music and multimedia performances and
over 20 workshops. Four conferences will explore the
themes of Technology for the Common Good, Debt and
Globalisation, Green Building and Eco-Design. An open-air
Earth Fair with stalls, talks, film and theatre in Meeting
House Square on Sunday 29th April will mark the end of the
Festival.
>unquote<
------------------------------
Date: Tue, 24 Apr 2001 17:37:25 +0200
From: ana peraica <ana.peraica@janvaneyck.nl>
Subject: txt: The art of warmaking
Hi,
I forwarding a text that will be published in the project Museum in
Progress: Global Positions, curated by Hans Ulrich - Obrist.
The project itself is conceived as inviting curators, to invite artists. By
now Austrian newspaper Der Standaard published the following 'coalitions'
Isabel Carlos / Maria Thereza Alves, Carlos Basualdo / Dolores Zinny & Juan
Maidagan, Hou Hanru / Vincent Leow, Rosa Martinez / Bülent Sangar,
Massimiano Gioni / Roberto Cuoghi, David G. Torres / Ivana Keser, Jeremy
Millar / Alexander & Susan Maris, Wayne Bearwaldt / Fabian Marcaccio, Fiona
Bradley / Nathan Coley, Marian Pastor Roces / Adrian Jones, Daniel
Birnbaum / Annika Eriksson, Vitus H. Weh / Lois Weinberger, Luis Felipe
Ortega / Gabriel Kuri, Jens Hoffmann / Paola Pivi, Cornelia Lauf / Joseph
Kosuth, Nicolaus Schafhausen / Jeroen de Rijke & Willem de Rooij, Vasif
Kortun / Hüseyin Bahri Alptekin, Wayne Baerwaldt / Marcel Dzama, Francesco
Bonami / Daniel Jewewsbury, Hans Ulrich Obrist / Claude Closky, Robb Pruitt
/ Alison Gingeras.
The following text will be published with presentation of the Slovenian
group Irwin, I have chosen, on the invitation of curators, to participate
producing a newspaper page.
Best,
Ana Peraica
/-\/\//-\ P3R/-\1(/-\
Jan Van Eyck Academy
Academieplein 1
6211 km Maastricht
*****************
Text for the Museum in Progress: Global Positions
THE ART OF WARMAKING
(Strategies of mapping)
Ana Peraica
Only few moments before the start of a decade long-war, an art piece stands
in front of the door of the City-State, a monumental, and some say gorgeous,
wooden sculpture of Horse. At that time, Helena was an ordinary melancholic
lady, and citizens were caught by a double aspect of the political economy
of the present, both being 'touched with a sign of respect', but in fact
greedy. Symbolic, real and imaginary about the gift were still
distinguishable. Soon, the pretext uncovered the reason of the war. In the
story of war, a sculpture remained only a curious motif. But talking about
strategies, wooden engine (war-org) was also an art piece of war-making.
Being covered, penetrating unnoticed into other body, being under a desired
skin.
The story assumes, from the other side; no action is necessarily useless; no
work, no life, no product. It is, seen from the outside, a story about
causes, naïve games and naïve sentences that can change any scenario.
In the year 1920 artist El Lissitzky dared (!) to say "suprematism would
surpass communism in the world history" (or only icons will remain)1. Soon a
battle culminating with state-making of art of realism in SSSR started
reaching Stalin's real "total artwork out of society" (Groys).2 The artist
was right. Latter, in the eighties, in the inter-zone of "nuclear
discourses" (Derrida), just after the death of one of the authors of the
independence (or objective discourse), and the start of the end of political
illusion, in this atheistic context, the artist Kazimir Malevic, victim of
Stalin's politics himself, suddenly resurrected. Or, his show was this time
mis-dated consequently.3 At the same time in Slovenia, a group of artists
worked in a way Soviet suprematist treated his own group UNOVIS (founded
together with El Lissitzky); as a "political party" formed in the system
that already abolished ideas of opposing and permanent revolution in time
(Trotsky and Parvus, abolished by Lenin, 1917).4 Their work was about
ideologies, various ones.
The Balkan war-machine was activated, a nomadic machine that knows not the
state, the one from the time preceding legislation, borders and identities
(Deleuze and Guattari), the pure state of constant process. And indeed,
until 1990 Yugoslavia counted six republics and two districts, by
Constitution. The same year it counted six states (one of which formed by
two republics left and two districts), one ex-state still active, and two
self-proclaimed republics. One of the districts hoped for the status of
republic. They were functionless still, but they were signified on space
maps (of the future). Although, they were still imaginary, existing only in
myths of history. One of the states on this territory of overlapping maps,
the only one not mapped, but holding the function of overlapping was
announced by the "coalition" of Slovenian art groups united in Neue
Slowenische Kunst. But, on the contrary to the state-making of art, present
in most of dictatorship contexts, in this segregation NSK was involved in
the art of state-making of NSK State in time (slov. dezela v casu) using the
opportunity. Its territory was not on time (and therefore timed itself) but
in time, assuming imperialistic point.
Maps were not on the future, but as this map of strategic points shows; map
of protagonists and their actions, conquering the past. Names are points of
mythologization, signs of myths, condensed signs of stories. But a map
itself contains more than works and names, it contains elements needed to
'define', though its background is beyond visibility. There are many
original ideas, their embodiment, and readings, imaginative, symbolic and
real contents, put behind. The linearement narrows their reading. Stories
are connected intertexutaly, as are illustrations interpictoriality.
Interconnected myth, despite that, allows traveling back and forth in
ahistorical trans effect (flash-back, flash-forth), in time. As the map is
not on time itself. It is a complex aesthetic and cognitive mapping of
ideology5. Time is paradoxically stabile. It is a territory from 1920, when
the idea of the future (in past) was thrown, till 2000, spreading unique
field of the action.
Though, making only one line, a transformation of mythologeme into
ideologeme occurs, contextualizing names, for own territory purpose,
expropriating their stories. But then, the ideology (at least of the
historical explanation) is relativized, it is done before, it is served in
future. That is the tactic of incubation (in a moment before the action,
night in which Trojan horse is still only a sculpture), the served that
waits for the "right" reading. But is it right? As several authors noted;
NSK reduced its own political role on a sole ideological state apparatus
(Althusser)6. The state is not made to cover, but to readily consume
ideology, any ideological thought. Issuing a topic of political correctness
of NSK Grzinic wrote, in regard to Irwin's earlier work "The Four Seasons",
done in a manner of a monumental Nazi-realism, it is a subversive act of
recycling, continuing "this does not impose a glorification, but a
distortion (...) /it/ displays the inner structure of the (deeply
rationalized) system of the perceptual codes that directed the mode of
representation (of woman) during the Nazi period". 7 Its tactic is
"denaturalizing the previously 'naturalized' (..) values and rituals."8
Over-identification with ideology, on which Zizek writes speaking of
ideologies of non-explicit values, or hidden-reverse ideologies (Arns), is a
pure sabotage tactic. In the political context he realizes the existence of
"at least one sentence that keeps the system, but does not belong to it"
(from Gödel), because there as well some consistency of explanation is
needed. That sentence is a methodological key to a system (as might be El
Lissitzky's one, uncovering the static problem 'after the promise'). In
political sense, those are the background rules of the explicit contract.
Anticipating its own enemy, or critique ideologists are actually cynical
(Zizek, Sloterdijk).9 All maps embody own enemy, but this one is done to
please, to demystify (which is actually impossible). As itself is an old
tactique, rarely mentioned.10
Telling what is already told in the future of the one that expects a certain
feedback, giving desired present in the past, if an art cannot be else but
an ars paradoxa, nomadic time machine. Moving retro-avant-garde, retrograde
to affirm one's own relation, avangarde to affirm a past one, forth to
arrive back, back to arrive forth11. It is a constant checking of that
territory.
"And what do we get by eliminating the difference between the past and the
future, when everything suddenly becomes the present and attempts are made
to arrest time in a closed narrative form, as is a case with the temporal
logic of the copies? In such a case a meaning production machine is in
opposition with the (hi)story of rational scientific progress and linked to
progressive politics, on the side of a rather 'a-modern gaze" (Bruno
Latour's phrase) which abides by the absence of a beginning, an
enlightenment and a finality." (Grzinic)
But precisely that kind of art, a cleansed sign that announces war (in the
past) becoming paradigmatic for the reading of the present. As Groys noted,
NSK with that movement becomes "more total than totalitarism" (Groys)12.
That nomad war game is ideal. Deleuze valorized as a game over games, which
"destroys common sense of fixed identities". Having no pre-existing rules it
forms relations of "smaller than the minimum", and "greater than the
maximum" in successive serials13. And only then, as he noted, an open space
of unique and undivided cost, nomadic or non-sedentary distribution, might
be formed.
And that is what this map talks about... both on top of the surface and in
the background, as it is not on time (as maps refer to represented), but in
time. It does not talk about what it represents. It contributes to a museum
in progress regressively, and it is affirms the global while localizing; the
point of which is nivelation.
Footnotes:
1 Susan Buck Morss: Dreamworld and Catastrophe (The passing of mass utopian
in East and West, MIT Press, Cambridge, Massachutssets, London, England,
2000)
2 Boris Groys: The Total Art of Stalinism, Avant-garde, Aesthetic
Dictatorship and Beyond (translated by Charles Rougle, Princeton University
Press, 1992)
3 Malevic misdated works of the exhibition in 1924, when he was arrested
with the accusation of being a German spy. Kazimir Malevic (2) exhibited The
Last Futurist Exhibition 0, 10 ; originally exhibited in St Petersburg,
1915/6, in Belgrade and Ljubljana (1985-6) and in 1994 in fragments in
Ljubljana, again. Paintings were reconstructions of the original show.
4 On political influence see Katja Dieffenbach: Slowenien and die 90er:
Kunststaat (in Spex, No. 10. Oct. 1994, p. 1987), Alenka Barber-Kersovan:
Laibach und Postmodernes 'Gesamtkunstwerk' (in
Spektakel/Happening/Performance. Rockmusik als 'Gesamtkunstwerk', Mainz,
1993, pp 66-80.
5 As proposed by Frederic Jameson: The Cultural Logic of Late Capitalism
(Post-Contemporary Interventions, Duke University Press, 1991)
6 Louis Althusser: Ideology and Ideological State Apparatuses (in Lenin and
Philosophy and Other Essays, translated by Ben Brewster, New Left Books,
London, 1970)
7 Marina Grzinic: Synthesis: Retroavantgarde or mapping post-socialism ZKP4,
http://www.ljudmila.org/nettime/zkp4/53.htm
8 /ibid,/
9 Slavoj Zizek: The Sublime Object of Ideology (London/New York, 1989),
Peter Sloterdijk Critique of Cinical Reason (Frankfurt, 1983).
10 According to Eco, a powerful cardinal Mazarin wrote a book Politician's
Breviary (1684, Cologne), that is connected to two other books on deceiving
Baltasar Gracian The Manual Oracle of Art of Prudence (1647) I Torquatto
Accento The Honest Dissimulation (1641). Strategy of over-identification
resembles ones suggested by Mazarin; sheer manipulation through flattering
enemies "the way they die at the same time blessing you" in Umberto Eco:
Strategies of Lying, in On Signs (edited by Marshall Blonsky; John Hopkins
University Press, Baltimore, Maryland, 1985)
11 The term Retro-Avantgarde proposed by Peter Weibel for reading works of
several Yugoslavian artists, including NSK (in a catalogue exhibition in
Graz), used latter as a title of the show in Ljubljana 1994
(Retro-avangarda).
12 Boris Groys: The Irwin Group: More Total than Totalitarism (in Irwin,
Kapital, exhibition catalogue Ljubljana, 1991). Totalitarianism of Stalin
went up to "proclaiming that whatever is said was all there was" (Debord,
Society of the Spectacle ), " by the time ideology become absolute because
it possesses absolute power, has been transformed from fragmentary knowledge
into a totalitarian lie", "protected by the myth", that is a "dictatorship
of illusion" (ibid).
13 Gilles Deleuze: Logics of Sense (Les Editions de Minuit, 1969 / reprint
Columbia University Press, 1990)
1
------------------------------
Date: Tue, 24 Apr 2001 13:14:09 -0400
From: Felix Stalder <stalder@fis.utoronto.ca>
Subject: The Daniel Langlois Foundation Launches A Program Of Grants For Researchers In Residence
THE DANIEL LANGLOIS FOUNDATION LAUNCHES A PROGRAM OF GRANTS FOR RESEARCHERS
IN RESIDENCE
Montreal, April 23, 2001
The Daniel Langlois Foundation for Art, Science and Technology is launching
a program of grants for researchers in residence. With this new program,
the Foundation hopes to foster critical thinking about how technologies
affect people and their natural and cultural environments. Following an
international competition open to historians, curators, critics,
independent researchers, artists and scientists in various fields including
computer science and related areas of social science, the Foundation will
enable two researchers to work in the collections and archives of the
Centre for Research and Documentation (CR+D). Each year, the Foundation
will announce the research topics that researchers’ proposals must address.
For 2001-2002, the topics are: Technological, artistic and aesthetic
history of computer animation, and Conceptual, scientific and artistic
issues involved in preserving digital artworks or works with digital
components. Twice a year, the CR+D will welcome a researcher for three to
six months. The researchers will be given access to computer and
audiovisual equipment, the Foundation's database, and its entire collection
of documentation. The researchers in residence will be required to publish
their research findings on the Foundation's Web site. For more details on
this new initiative, consult the program of grants for researchers in
residence in the Funding Programs section of the Foundation's Web site:
http://www.fondation-langlois.org/e/programmes/menu.html. If you don't have
Internet access, please contact us directly and we'll mail you the
information you need. The deadline for applying is August 31, 2001. For
questions about how to submit a project to the Foundation, contact the
program officer Angela Plohman at aplohman@fondation-langlois.org.
SOURCE:
Angela Plohman, Program Officer
Daniel Langlois Foundation for Art, Science and Technology
Phone: (514) 987-7177
Fax: (514) 987-7492
E-mail: info@fondation-langlois.org
Web site: http://www.fondation-langlois.org
------------------------------
Date: Mon, 23 Apr 2001 14:25:13 +0200 (CEST)
From: integer@www.god-emil.dk
Subject: steim nato.0+55 galla zpektakl
steim nato.0+55 spektakle - 9 may 2001
life forms responsible for ensuring everyone ist gluckl!ch \ fre! \ !ez pl!!!z
0@0010.org
hiaz@live.fm
m.robinson@mdx.ac.uk
\\ may kontakt nezvanova@steim.nl for technical + etc requirements
this will not be a workshop per se - a spektakle rather.
interested in attending +? may email nezvanova@steim.nl
those wishing to participate \ present data please specify
_detailed technical + etc requirements
a musical concert is scheduled post nato.0+55 galla \ spektakle
nn
>Greta,
>please be my guest
yes dear
/_/
/
\ \/ i should like to be a human plant
\/ __
__/
i will shed leaves in the shade
\_\ because i like stepping on bugs
*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--
Greta Garbo nezvanova@eusocial.com
Stichting STEIM http://www.eusocial.com
Achtergracht 19 http://www.m9ndfzzp.com
1017 WL Amsterdam http://www.ggttctttat.com/!
Netherlands http://steim.nl/leaves/petalz
*--*--*--*--*--*--*--*--*--*--*--*--*-- --*--*--*--*--*--*--
------------------------------
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