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Table of Contents:
fwd: Art and Money Online Symposium, Tate Britain, London
honor <honor@va.com.au>
Public Art and Streaming: Symphony of a City
"manse jacobi" <jacobi@freespeech.org>
giant.mov
computer fine arts <doron@computerfinearts.com>
C R I S I S W E B N E W S - New book length report on the
"Sascha Pichler" <spichler@crisisweb.org>(by way of richard barbrook)
Radical to Rational - and Back Again
"geert lovink" <geert@xs4all.nl>
those old cd's and cd-roms (corrected address)
Bill Spornitz <spornitz@pangea.ca>
webcast
"k." <kasprzak@videokill.com>
Neighbourhoods of the world
"Dimos Dimitriou" <addfield@ath.forthnet.gr>
cream 2
"geert lovink" <geert@xs4all.nl>
net.ephemera Opening reception: Thursday, May 3, 6-9pm.@ Moving Image Gallery4
michele <michele@movingimagegallery.com>
Conf > "Race in Digital Space" > Apr27 to Apr29
"Paul D. Miller" <anansi1@mail.earthlink.net>
[ big bOXe ] Art Frankfurt 2001 - pavu.com - artcart.de
"clement Thomas - pavu.com" <ctgr@free.fr>
who wants to review vectorial elevation?
"geert lovink" <geert@xs4all.nl>
------------------------------
Date: Thu, 26 Apr 2001 16:02:25 +0100
From: honor <honor@va.com.au>
Subject: fwd: Art and Money Online Symposium, Tate Britain, London
- -----Original Message-----
From: Lorna Healy
Sent: 25 April 2001 18:49
To: Honor Harger
Subject: FW: programme
Art and Money Online Symposium
Tate Britain, London, UK
Friday 4 May 2001
10.30 - 16.30 (British Summer Time)
Curators of new media, net activists, writers and artists discuss the link
between global capitalism and digital art
"The war between expression and commerce is a very rich subject, of which
the issues directly touching Art are just the tiniest tip of the iceberg"
(Ray Thomas and Frank Guerrero, RTMark)
This symposium responds to Tate Britain's Art and Money Online (6 March to
3 June) Art Now exhibition
<http://www.tate.org.uk/britain/exhibitions/artnwnet.htm>, with a series of
panel discussions and talks which critically question the links between
capitalism and digital art.
Representatives from RTMark deliver the keynote address.
Other invited speakers include:
- - Benjamin Weil - SFMOMA
- - Josephine Berry of Mute Magazine
- - Cutting Edge: The Women's Research Group
- - John Tomlinson, Nottingham Trent University
- - Jon Thomson and Alison Craighead, artists
- - James Wallbank from Redundant Technology Initiative.
This day asks whether net artists’ opposition to capitalism is plausible or
desirable in the current economic condition. A fresh and interdisciplinary
approach is taken to this visual politics debate as economists,
geographers, and writers add their views. Parallel sessions on
globalisation and gender, culture and technology, astrology, and web site
construction are also included.
Fee: £15 (£7 concessions) includes refreshments
For tickets: (+ 44) 020 7887 8888
PROGRAMME
10.30 - 11.15
Opening Address
Frank & Ray RTMark
11.15 - 12.00
Globalisation, Capitalsim and Cultural Imperialism
John Tomlinson, Nottingham Trent University
12.00 - 12.50
Panel Discussion: Culture and Politics
Josephine Berry, Mute Magazine
Jon Thomson, Artist
Alison Craighead, Artist
Jackie Hatfield, Womens Research Group
12.50 - 13.45
Lunch
13.45 - 14.45
Option A: Guided Tour of 'Black Shoals Planetarium' in Art and Money Online
Exhibition, with Financial Astrologers and Lise Autogena, Artist and Joshua
Portway, Artist
13.45 - 14.45
Option B: Demonstration: How to Build Your Own Website, with James Wallbank
Redundant Technology Initiative
14.50 - 15.35
Digital Art & the Museum
Benjamin Weil, Curator SFMOMA
15.35 - 16.00
Break - Tea/Coffee
16.00- Finish
Panel Discussion: Resistance, Capitalism and Art Online
Julian Stallabrass, Curator and Writer
James Wallbank, Redundant Technology Initiative
___________________
MORE INFORMATION:
For more information contact:
Jane Toussaint, Interpretation & Education, Tate Britain
PH: (44) 020 7887 8758
email: jane.toussaint@tate.org.uk
URL: http://www.tate.org.uk/britain/exhibitions/artnwnet.htm
For more information about Tate or getting tickets for events:
Tate Ticketing
Email: boxoffice@tate.org.uk
PH: (44) 020 7887 8888URL: <http://www.tate.org.uk>
------------------------------
Date: Thu, 26 Apr 2001 09:59:43 -0600
From: "manse jacobi" <jacobi@freespeech.org>
Subject: Public Art and Streaming: Symphony of a City
Public Art and Streaming Event
====================
Symphony of a City
====================
ttp://www.symphonyofacity.org
Symphony of a City is a public art project by Liz Canner and John Ewing
designed to create dialogue and reflection about community building and the
housing crisis. It portrays a day in the life of Boston from many
perspectives. Dynamic individuals, nominated by community groups from across
Greater Boston, wear tiny video cameras and document their lives for an
entire day. The video is juxtaposed so that at any given moment four
stories, four lives, four perspectives are in view. Unfolding from dawn
until midnight, Symphony of a City creates a democratic arena where people
can gain a deeper understanding of neighbors with whom they may rarely have
contact.
Video Projection on Boston City Hall
Date : April 27 (community building) and May 4 (housing)
Location : on Boston City Hall directly across from Fanueil Hall overlooking
Congress Street
Hours : from dusk untiil the last wearcam participant goes to bed
Video Streaming on symphonyofacity.org and freespeech.org
Date : April 27 (community building) and May 4 (housing)
Hours : from when the first wearcam participant wakes up until the last
wearcam participant goes to bed
------------------------------
Date: Thu, 26 Apr 2001 12:45:56 -0500
From: computer fine arts <doron@computerfinearts.com>
Subject: giant.mov
~~
http://www.computerfinearts.com/giant/
giant.mov
data: 55 kb/s
duration: loop 1:00:16
quicktime streaming media
~~
------------------------------
Date: Thu, 26 Apr 2001 18:23:55 +0100 (BST)
From: "Sascha Pichler" <spichler@crisisweb.org>(by way of richard barbrook)
Subject: C R I S I S W E B N E W S - New book length report on the
C R I S I S W E B N E W S
- ---------------------------
Thursday, 26 April 2001
BALKANS --------------
After Milosevic A Practical Agenda for Lasting Balkans Peace
ICG Balkans Report No.108
Slobodan Milosevic is gone, but he has left in the Balkans a bitter legacy
of death, destruction and distrust, and the potential for renewed conflict
remains dangerously high. It is vital that there be forward-looking and
comprehensive action by the international community to address the
continuing sources of tension. ICG s new 350-page report is a
comprehensive and up-to-date attempt to map a realistic agenda for
achieving lasting peace in the Balkans. The focus is on accelerating
political and institutional reform, and addressing sooner rather than
later the difficult remaining issues of future and final status, and
minority rights, that keep holding back stability and economic growth,
especially in the troubled Yugoslav trio of Serbia, Montenegro and Kosovo,
and in Bosnia and Macedonia.
This report is built on five years of intensive field-based analysis
throughout the western Balkans. The policy ideas contained in it grow out
of the experience gleaned in the course of writing 140 earlier Balkans
reports and briefing papers and discussing them with policy makers in the
region and around the world.
The complete text of the report may be downloaded in pdf format from the
ICG website www.crisisweb.org. The report is also available at cost (US$
15) in printed paperback book form. Click
here: www.crisisweb.org/projects/book.cfm for ordering details.
- -------------------------------------
CrisisWeb - http://www.crisisweb.org
- -------------------------------------
To unsubscribe from this list, simply send an email to
listcontrol@tmg.co.uk. In the body, write:
leave[space]icgbalkans-news[space]<youremailaddress>.
------------------------------
Date: Fri, 27 Apr 2001 09:00:08 +1000
From: "geert lovink" <geert@xs4all.nl>
Subject: Radical to Rational - and Back Again
From: "Kendra Saunders" <Ksaunde1@utk.edu>
Sent: Friday, April 27, 2001 2:54 AM
Subject: Conference Information
IAP2s Annual Conference and Workshops - May 4 - 9, 2001
The Coast Plaza Hotel at Stanley Park
Vancouver, British Columbia, Canada
Radical to Rational - and Back Again
If you have any questions, please contact IAP2 Headquarters at
1-800-644-4273.
The International Association for Public Participation (IAP2) was
established in 1990 as a nonprofit corporation to advance the practice of
public participation. IAP2 is an association of members who seek to promote
and
improve the practice of public participation in relation to individuals,
governments, institutions and other entities that affect the public interest
in nations throughout the world.
Rediscovering Participation
In the 1960s, citizens rediscovered the power of protest. Drawing on the
example of Thoreau and Gandhi, in the streets and on university campuses,
citizens demanded changes in government policy and injected their voices
into the decisions affecting their lives. It is from these radical roots
that modern public participation was born as large institutions searched for
rational ways to engage the public.
The end of the 20th century again witnessed large-scale protests and public
outrage. Has public participation failed? Or have we simply moved to the
next stage - from the domestic issues of the 20th century to the global
issues of the 21st century -and the cycle of "radical to rational, and back
again" is repeating itself?
This question will be the focus of IAP2 's 2001 conference. With the
intensification of public activism, what is the future of public
anticipation in the 21st century?
The conference will also consider the contribution of public participation
in building and sustaining thriving human communities. Achieving healthy
communities means attending to public health, justice, transportation, and
environmental stewardship. The conference is organized by addressing the
elements common to these issues:
*activism
*governance
*technology
*environment
*globalism and our role in it
*indigenous peoples
===============================
Kendra L. Saunders
Program Associate
Participatory Research and Planning Program
Community Partnership Center
University of Tennessee
410 Aconda Court
Knoxville, TN 37996-0645
ph: (865) 974-4562
fx: (865) 974-9035
ksaunde1@utk.edu
------------------------------
Date: Thu, 26 Apr 2001 11:22:51 -0500
From: Bill Spornitz <spornitz@pangea.ca>
Subject: those old cd's and cd-roms (corrected address)
Sorry - here's the correct postal code. Please destroy the previous message.
Bill
Dear Friends:
Do you have a bunch of old promotional cd-roms lying around? Old
shareware disks that won't run on your new computer? Operating
systems that wont cut it any longer?
Perhaps some old music cd's? Maybe something your mother-in law gave
you for your birthday, or some Milli Vanilli?
I'm using recovered cd's and cd-roms to shingle my little house in
historic St. Boniface, Manitoba. If you want your refuse to be
immortalized forever, (and help me protect my house from the savage
Canadian climate) please send your old cd's to:
Lumpy
223 Bertrand Street
Winnipeg, Manitoba R2H 0N5
Canada
I'm sorry - I can't afford to pay shipping.
Please take a minute to include a note about yourself, or whatever.
Thanks
Bill
ps - St. Boniface is Winnipeg's french quarter.
------------------------------
Date: Fri, 27 Apr 2001 01:16:11 -0400
From: "k." <kasprzak@videokill.com>
Subject: webcast
- - badpacket -
Live webcast on Year Zero One as part of Station Rose's "Webcast Lounge"
at Art Frankfurt!
http://www.year01.com/stream
Streaming by TrickMedia.
Saturday April 28, 2001
12 PM - 1 PM - US Eastern Standard Time
6 PM - 7 PM - Central European Time
4 PM - 5 PM - Universal Time
Mike Steventon + Michelle Kasprzak = badpacket
Live audio by P R O J E C T (Lewis & Prasad)
badpacket use performance as a vehicle for the exploration of
contemporary issues relating to the interfacing of humans and machines.
In particular, they examine the changing role of human biology in the
age of smart machines and genetic modification, and the evolution taking
place within the architecture of human communication.
badpacket use computer generated imagery, performance, live video mixing
and projection, to create a unique layered environment that taps into
our hopes and fears for the future of technology. Combining the use of
digital, analogue, and live techniques allows badpacket to plunder the
immediacy of the internet, the fluidity of live video mixing, and the
responsive interactivity of performance.
P R O J E C T is the work of Prasad Bidaye and Lewis Kaye exploring the
possibilities of sound manipulation, improvised programming and live
re-mixing. Their purpose is to transcend the barriers of contemporary
electronic music while in pursuit of spontaneous frequencies and other sonic
forces that ease the body and move the mind. Central to this philosophy is
an openness towards collaboration across the entire spectrum of media.
Check out the live webstream, hosted on Year Zero One:
http://www.year01.com/stream
Streaming services provided by: Trick Media/Idiosyntactix.
Toronto performance location provided by Michelle Teran.
More info:
http://www.year01.com/stream
http://www.badpacket.org
http://www.stationrose.com
Time Conversion calculator:
http://www.w3.org/Protocols/Time/
Special thanks to:
Dmytri Kleiner, TrickMedia, Idiosyntactix, Station Rose, Year Zero One,
Michael Alstad, Michelle Teran.
------------------------------
Date: Fri, 27 Apr 2001 12:15:50 +0300
From: "Dimos Dimitriou" <addfield@ath.forthnet.gr>
Subject: Neighbourhoods of the world
Neighbourhoods of the world
Concept
"Neighbourhoods of the world" is a new international network that aims to
create a new platform of different areas from all around their world. A
number of neighbourhoods will be adjoined virtually and create a new
community that wishes to build new strong and real relationships between
areas and between people. While virtual communities expand more and more
nowadays, at the same time they are accused that they tend to replace the
real geographical ones becoming actually a substitute of them. This project
wishes to readdress this subject starting off from the core of the
geographical vicinities. We are looking back to the nostalgic concept of the
neighbourhood that is being lost, aiming to recapture its sense and enliven
it. The art centers, the organizations that will undertake the work for this
project, need to reach out to the residents of the area and work with them
so as to reflect their view of their place and transfer these images to the
web site.
Structure
The neighbourhood can be a street and its surrounding area, a small
territory a kid may walk through every day, a small world that encloses the
residents' most familiar images and every day life.
This project addresses to art centers, university departments, music places,
libraries, or other associations of any place in the world that are
interested to work on their neighbourhood. For the realization of the
project these centers need to discover the distinctive character their area
has and develop powerful relationships with the small surrounding community.
They need to become the dynamic cells of their neighbourhood and form a team
of people (residents, artists, professionals, students etc) that will work
together on the project. Each team will need to start an ongoing research
and gather material - videos, photographs, interviews, texts- where the
specific features of the area will be documented. As this material is to be
presented on line, the particular centers need to play a double role; acting
as the coordinators of the workgroup of their area on one hand and as an
intermediary between the area and the whole network on the other.
The material of each neighbourhood, after its first procession by the
project team will consist part of the site. The overall construction,
coordination and supervision of the site will be undertaken by Fournos
Center for Art and New Technologies, in Athens. Fournos, that is situated in
the area of Neapoli in Athens, will develop a project on its surrounding
neighbourhood.
In brief, the workgroup of Fournos can be described as the following:
Project Internal Team:
- - Project "Wizard" (Person that acts as a supervisor for the whole
project and plays a general overseeing role ensuring its development; is
critical for its overall development and success; inspires the on going
process of the work; negotiates with the external team)
- - Project "Anima" (Person that enlivens the spirit and the concept
of the project; is responsible for the ongoing process, defines the needs
and the steps; contacts and communicates with the other participant art
centers; cooperates with the artists and the other people who are working
for the site)
- - Project "Equilibrium Finder" (Person responsible to define the
core functionality and the architecture of the site. He needs to address the
needs of the audience visiting the site and to define the user experience.
As the site aims to create a web community , his task is to oversee its
development and keep the content of the site close both to its concept and
the needs of its users)
- - Project "Web Monster" (Equivalent to the Web Master but in a
more extreme sense. Person that takes the material on the area and rebuilds
it; creates the virtual neighbourhood that will be mostly based to the
energy and the fantasy of a place; edits the pieces together and subtracts
anything needless as trash, traffic signs or moody passengers.)
Project External Team:
- - Artists (Architect, Musician, Video Artist, Photographer,...)The
participation of artists is essential. It is preferable if they live or work
in the area. Their work inspired by the place can greatly influence the
development and the content of the site. e.g. a musician can capture and
record sounds from the vicinity.
- - Residents (Texts, photos by current habitants and newcomers )
- - Old people (Testimonies and thoughts from the past generation
creating a documentation on the internet of their view of the world, a world
that fades away)
- - Professionals (Reference to traditional professions that may be
preserved in the area from the past till nowadays)
- - Kids (Words, pictures, photographs taken by children will be
included)
The virual neighbourhoods will need to form a workgroup with a similar
structure. Persons taking the positions of the Project Equilibrium Finder
and the Project Web Monster may not be needed for the participant centers as
the overall development of the site lies mainly to Fournos'
responsibilities. The material gathered by the centers will be processed and
edited within Fournos Lab. However, the process of the material by a site
designer or an internal technical team can surely help before the data
reaches our technical support team. It is important to notice that all work
will take place within the center and that no external private company will
undertake the designing, construction and maintenance of the site. This is
to avoid any advertising interventions as well as possible alterations in
the content and appearance of the site. As the ongoing administration,
maintenance and modification of the site will be kept in-house, it becomes
clear that a close and steady cooperation between the participant centers
is necessary. A dynamic and creative network needs to be created that will
present several and different images of the various neighborhoods.
Features of the project
The site will be the main feature of the project as it will represent the
network of the neighbouhoods belonging to the new community. Each
participant neighbourhood will be represented virtually on the net. All
material gathered by the project team as images, texts and videos will be
accessible to users entering the site. From the first page a photo-picture
of the vicinity will offer links to all possible next steps. The user will
be able to click on several spots such as buildings, roads and people and
discover features related to the area. By clicking, for instance, on a
person appearing on the screen a video or a small text will pop up where the
particular resident will be saying his personal thoughts and memories, his
favorite place on the area etc. The profile of the resident, his name, age
and profession will be stated, giving the sense of a new acquaintance to the
people visiting the area. (e.g. Alison Parker, artist // Nick Papadakis,
student, 12 yrs old). Our aim is to give the info on the area mainly
through its residents. This is to avoid forming a mere archive or a database
on the area and to help creating a site that enlivens a particular space and
brings it closer to people's eyes and mind.
A variety of information can be provided. If a person names also his
favorite food, a picture of it can be included and the recipe can also be
given. Likewise, images and texts related to the buildings, the flowers and
gardens, the small shops or other features will be presented on line. The
network created will enable users to pass at any moment from one
neighbourhood to another, as there will be a common general pattern for all
vicinities. For example, from the pop up video for the foods of one area,
links will be given for the foods of the other neighbourhoods as well.
In the context of the site a forum will also be created where various
subjects will be open for discussion. Through this new web community, we
want to encourage the communication and the exchanging of experiences
between people coming from different regions of the world. This community
can give birth to a new platform of creation and dialogue for artists,
residents, curators and all the visitors of the site. Users will be invited
to join discussions, send mails to each other or even have an on line chat
with other people.
Each person entering the site will have to register, state his username,
password and email. If they wish, they can also complete their own personal
profile, adding their interests and other characteristics. This will help
create an archive of profiles that will enable future communication. After
logging in, the user can visit the several neighbourhoods he wishes and view
what's on line.
The travelling exhibition and the other events
An exhibition focusing on the distinctive features of the participating
neighbouhoods will be scheduled in the future time that will be hosted in
succession by the participant art centers. Along with the exhibition, other
events will be programmed each time; installations, performances, art events
and happenings will take place in several spots of a neighbourhood and
enliven it. These events will have a major contribution in the acquaintance
and the cooperation of the different areas. Artists will be invited to work
in the venues of the different neighbourhoods and work on projects that will
be co-curated by more than one art centers. The participation of the people
of the areas will also be essential. An exchange program between residents
can take place where people will be invited to visit neighbourhoods and meet
the people they may have been in contact with via the net. Most of these
events will be programmed to happen after the completion of the first year.
During the first year, that the project will be going through an
experimental phase smaller happenings or actions can be scheduled to bring
the different areas closer. One idea is for the teams of the art centers to
exchange gifts! Gifts to approach another community, like kids do in school
classes before Christmas.
To sum up, we hope that through the process of the project the participating
art centers and the neighbourhoods will succeed in: bringing the residents
closer to their area aknowledging its specific character; create a dynamic
group of residents, artists, professionals and people working in art centers
that will be able to work together and reach out to the community; create a
network of neighbourhoods and people from the world that will share their
views and experiences; offer a new territory for collaborations between
artists and art centers from all around the world that will turn more to the
neighbourhoods and will be inspired by them.
If you are interested in participating, please read the conditions for
participation that are attached and send us:
- - the profile of your association
- - the profile of the creative team that will undertake the work for
the project
- - a short text describing how you will develop the project on your
neighbourhood.
Also, please free to contact us for any queries you might have.
Daphne Dragona
General Coordination and Communication, Project "Anima"
Manthos Santorineos
Director of Fournos, Project "Wizard"
Solon Sasson
Project "Equilibrium Finder"
Fournos, Center for Art and New Technologies
Mavromichali 168, Athens, Greece
Email: daphne@fournos-culture.gr
Tel: +301 64 60 748
Fax: +301 64 70 069
Conditions of Participation for the "Neighbourhoods of the World Project"
1. The project shall be supported by an art center, a media lab, a
university department, a library, music center or other non-profit
association.
2. All the associations will conduct a research on the area and
present the material in the form of videos, photos and images.
3. The work for each neighbourhood will be accomplished by a group of
people from the center and the people living in the area.
4. Fournos, Center for Art and New Technologies of Athens undertakes
the overall construction of the site as well as the supervision of the
project.
5. Fournos as well as the participant centers accept to host the
travelling exhibition that will take place in the future in their venue or
other area in the neighbourhood.
6. Each center should be able to support financially the part of the
project for its neighbourhood.
7. Fournos is responsible the financial support for the construction,
modification and supervision of the site.
8. Deadline for the first call of participation is May the 31st ,
2001. The material should be gathered and processed by the centers by the
end of October 2001 and the site is scheduled to launch by the end of
December 2001.
------------------------------
Date: Sat, 28 Apr 2001 16:54:54 +1000
From: "geert lovink" <geert@xs4all.nl>
Subject: cream 2
via jesis@xs4all.nl (Josephine Bosma)
****************************************************************
cream 2
****************************************************************
Bath in cream. cream is an experimental collaboration of writers and
curators in the field of net art. cream will come to you as a (sometimes
iregular) bi-weekly newsletter devoted to theory and criticism
concerning art in network culture. All texts and reviews are kept as
short as possible, they are not introductions to larger texts elsewhere
on the net. The idea behind it is to provide a continuous injection of
critical thought into the net art field, to provoke a more prominent
critical and theoretical discourse around art in net culture and to do
this in a way that asks for discussion rather then that it obstructs a
flow of discourse. You can subscribe to cream, yet the first half year
of its appearance cream will also go to the a few mailing lists:
nettime, Rhizome, Syndicate. We invite you to forward this mail to
anybody you feel might be interested in the content of cream who is not
on any of those lists.
Contributors to cream: Saul Albert, Inke Arns, Tilman Baumgaertel,
Josephine Bosma, Sarah Cook, Steve Dietz, Frederic Madre, Tetsuo Kogawa
and more to come.
::::::::: In this second issue:::::::::::::::::::::::::::::::::::::::::
:reflection:
Report: Tetsuo Kogawa - ketai
Review: Sarah Cook - hard, soft and wet
Review: Tilman Baumgaertel -
notes on writing the history of the digital 0.1
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Tetsuo Kogawa is currently Professor of Communication Studies at Tokyo
Keizai University's Department of Communications. Kogawa introduced free
radio to Japan, and is widely known for his blend of criticism,
performance and activism. He has written over 30 books on media culture,
film, city and urban space, and micro politics. Most recently he has
combined the experimental and pirate aesthetics of the Mini-FM movement
with internet streamed media.
- ketai -
One of the most idiosyncratic phenomena of Japanese media today is
"ketai"[pronounced 'kay-tai'). Ketai means mobile telephone, a tool
which is very popular all over the world. This same familiar technology,
however, creates different cultures and social appearances.
Individualism is unstable and vulnerable in Japanese society but it
looks stable with the support of electronic media. I once called this
circumstance "electronic individualism" referring to the "Walkman"
phenomenon. People looked independent and selfish where they otherwise
looked shy and hesitating. Ketai boosts this phenomenon and guarantees a
consistent individualism. Ketai is a transcendental subject for Japanese
young people. They are eager to add their favorite ringing sounds
("chakumero") into the machine. While these young people create the
sounds on the computer by themselves, there are professionals who
produce various ready-made "chakumeros". The variety and the number of
them could create a collective music if they got together and sounded
chakumeros.
The first personal socialization starts with letting someone know your
ketai number. Quite young people often have two or three ketais. One is
for personal use: this number is told only to special people. This
attachment to the most personal or intimate ketai can go quite far.
Especially young women sometimes throw away their beloved ketai and this
apparently means that there was a separation. When young people get
together for their new project or to prepare for some other event, they
exchange their ketai numbers (supposedly their second ketai's) with each
other and memorize them into the machine. Name cards and business
cards are history.
Few people will borrow other person's ketai. In fact, ketai becomes more
and more personalized: there is a plan to use it as a personal
identification and password for shopping and banking. More and more
personal data are stored in them. Ketai is the completion of the
PERSONAL computer. I think it shows the computer becomes more and more
personalized and miniaturized to become something like a package of
artificial brain cells. But the forthcoming cyborg body with implanted
electronics will need a new techno-otherness. Media art made interesting
use of such an otherness. As long as the computer was not yet totally
personalized (like when it was connected to a network) there was a
shared space between physical bodies, a shared space that was activated
by technology. Media art has ended with ketai, because media art so far
has been pursuing a self-complete package without otherness even if it
relates to the internet. Media art has considered the internet as if it
were a global package of data.
::....____->
Sarah Cook is a PhD researcher at the University of Sunderland, England
where she coedits a site called the Curatorial Resource for Upstart
Media Bliss (www.newmedia.sunderland.ac.uk/crumb). Having worked in
Canada and the US, she tracks the institutional shifts in curatorial
practice brought on by the introduction of networked new media into the
art world, and wonders how many of them are geographically and socially
based.
- Hard, Soft and Wet -
Melanie McGrath's book "Hard, Soft & Wet: The Digital Generation Comes
of Age" was published in 1997. Considering its topic, that's ages ago
now. It chronicles her experiences discovering networked cultures - from
her home in London, and her friend's house in San Francisco. The book -
while old - is, however, not out-of-date; it testifies to a cycle of
optimism and despair which is always current in the field of new media.
"Hard, Soft & Wet" documents the early days of the online world in a
manner that is equally applicable to the newfound interest on the part
of the museum-institution in the new media art world.
Midway through McGrath describes a scene at an Internet café in NY where
she is discouraged about "the power of technology to change human
relations for the better" because it all seems to be about how hip you
are and what kind of kit you're using. If you change the words café
latte for wine, and dollars, deal and dividend for interactivity,
institution and interest she could just as easily be describing the
scene in a gallery 'medialounge' (or, I dread to think, the current
scene at the Whitney). She's subsequently encouraged by the thought that
"back in England everything under the Internet sky will still be sunny.
The backlash won't have happened there." As I left NY for England after
a brief visit a few weeks ago, I was encouraged by two similar thoughts:
one - the crash hasn't hit here yet (we're still optimistic about the
social and cultural possibilities of the next generation of mobile WAP
phones; artists in NY were wondering how they lost the net; artists in
England still have a bit of it as far as institutions are concerned);
two - Europe's museums haven't made as many new media art curatorial
mistakes. yet. (Is it because they haven't had to?)
Melanie's story bounces from her first e-mail romance to meeting hackers
in Russia (history of technology in the making) and programmers in
Iceland (face to face encounters in foreign towns). The book is in
essence a narrative about the perils of being on to something you think
could be huge and life-changing while others haven't picked up on it
yet, or won't because they're looking elsewhere, or once did but have
since been disillusioned (or nowadays, downsized). Its investigation of
the intimacy of new media remains paramount throughout -- mostly through
its deconstruction of the personal relationships which create the
networks behind it. Institutionally-based curators new to the medium
might find confidence in Melanie's trials as she tries to ascertain the
context of the Internet age (is it to be found in the academic world? At
a conference? In the commercial realm? In an activist demonstration?).
Those who are continually working on the edge of the slippery bank where
new media art becomes mainstream will no doubt just find her story an
interesting deja-vu.
::............__________->
Tilman Baumgaertel is a journalist and writer. He studied art history
and wrote a book about Harun Farocki as his thesis. He published a book
with interviews in 1999 called [net.art], and is working on its
successor. Tilman Baumgaertel has written extensively about net art, and
his work can be found in for example the catalogue of Net_Condition and
the online archive of Telepolis. He now works for the Berliner Zeitung.
- notes on writing the history of the digital 0.1 -
They used to say that journalism was the first draft of history. With
digital culture it seems that journalism has the last saying (the final
word?) too.
These was the a thought that came to my mind, when reading the book "The
rebel code" by Glyn Moody. "Rebel Code" is a fine book on the history of
Linux and the Open Source Movement. And Glyn Moody is a fine journlist,
who does what journalists do best: he gives a timely account of
important and/or interesting events that he reports to the best of his
knowledge in a readable fashion.
"Rebel Code" manages to do all of these things. In fact, it does even
more: Moody doesn't limit his study to Linux and the other usual
Open-Source-suspects such as Apache, Perl, GIMP and the Internet and Web
standards, but he also covers the many theoretical and philosophical
implications that the Free-Software-Movement has on other aspects of
social life. He adresses questions of ownership and copyright,
originality and collaboration, and chronicles the efforts of people such
as Richard Stallmann, Linus Torvalds or Eric Raymond to not only produce
Open-Source-Software, but also to come up with theoretical underpinnings
for the phenomenon.
So far, so good. So what is wrong with his approach in terms of writing
digital history? Nothing. What's wong is rather that the people whose
job it is to write history, the academics and scholars, at this point
leave the task of recording the development of a digital culture
completely up to journalists and critics.
Not that there is generally anything wrong with these people - I am a
journalist and critic myself, after all. And as such I know that my job
is not necessarily to do long and time-consuming academic research, but
rather to produce - as pointed out earlier - timely results that are
both factual and in a readable fashion. That doesn't mean that people
like Moody and myself don't get their facts straight, but rather that we
don't invest the time to do the research that would lead to completely
new or original findings or approaches towards a topic such as Open
Source.
"Rebel Code" tells the story of Open Source in a thorough and
well-researched fashion, but it basically tells the story of Open Source
that has become canonical in the last couple of years (even though his
chapter on Netscapes Mozilla project contains sources and documents that
to my knowledge nobody has published before).
If there is any "other", "alternative", "untold"
"story-behind-the-story", we wouldn't get it from "Rebel Code" - or, I
assume, from the handful of other books that have come out on the topic
of Open Source in the last 12 months. And they don't have to do this
job, because after all they are journalistic endeavours, that were never
meant for eternity or as final historic accounts of this phenomenon. So,
that would all be good and well, if academics in the many departments
that suppossedly do digital studies, "media archaeology", screen studies
and whatever the trendy term might be, would back this journalistic
efforts up with more academic research into the same topics.
Strangely enough, in the academic amateur's hour that is called media
studies etc, there is virtually nobody doing any research, but an almost
exclusive focus on analysis. If that analysis ever bothers to deal with
R.L.-subjects such as Open Source, it relies exclusively on journalistic
material, as if this material has the quality to be final and, well,
true.
Post-modernism has tought us that all history writing produces
"narratives", not final truths. In the field of digital history books
like "Rebel code" will be the final "narratives", because most original
sources will disappear soon, if they haven't done so already. For
example, the first discussion on Linux in the newsgroup comp.os.minix in
the early 90ies are already erased from any server in the world. So
future historians will not be able to access the original source, but
only the edited versions that appear in Moodys book and a number of
other publications.
If anybody would want to write another story of Linux, he won't have any
other material than the canocial quotes that have made it into books. In
journalistic books, that seem to be the final word on this topic.
<-_________________________:::::::::::::::::::::::::::::::::::::::::::::
Subscriptions to cream via cream-info@laudanum.net
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
cream would not be possible without the work and hospitality of the
House of Laudanum, http://www.laudanum.net .
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
------------------------------
Date: Fri, 01 Jan 1904 01:13:06 -0500
From: michele <michele@movingimagegallery.com>
Subject: net.ephemera Opening reception: Thursday, May 3, 6-9pm.@ Moving Image Gallery414 Broadway, 3rd Floor
> This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.
net.ephemera
May 3-31, 2001
Moving Image Gallery
414 Broadway, 3rd Floor
New York, NY 10013
Curated by Mark Tribe of Rhizome.org
Opening reception: Thursday, May 3, 6-9pm.
Net art is made to be experienced online. How then should museums and
galleries best exhibit net art in their physical spaces? net.ephemera
takes an innovative approach to this problem by focusing on drawings,
diagrams, notes, receipts and other physical artifacts related to the
making of virtual work.
net.ephemera includes one ephemeron by each the following New York-based
net artists/groups: John Cabral, Andy Deck, Ricardo Dominguez of
Electronic Disturbance Theater, Angie Eng, Alex Galloway, Jeff Gompertz,
GH Hovagimyan, Keith Frank & Jon Ippolito, Yael Kanarek, John Klima,
Tina LaPorta, Golan Levin, Diane Ludin, Michael Mandiberg, Jennifer &
Kevin McCoy, Brian McGrath & Mark Watkins with Akiko Hattori & Lucy Lai
Wong, Sally Minker, Prema Murthy, Mark Napier, Cary Peppermint, Wolfgang
Staehle, Beth Stryker & Sawad Brooks, Marek Walczak & Martin Wattenberg,
MTAA.
Press preview Wednesday, May 2, 1-5pm by appointment.
A web site with statements, bios and links to the related net art
projects will launch on Thursday, May 3 at
http://www.movingimagegallery.com
For more information, please contact:
Michele Thursz, Moving Image Gallery, +1.212.966.4741,
michele@movingimagegallery.com
Mark Tribe, Rhizome.org, +1.212.625.3191, mark@rhizome.org
- --
------------------------------
Date: Thu, 26 Apr 2001 11:44:36 -0400
From: "Paul D. Miller" <anansi1@mail.earthlink.net>
Subject: Conf > "Race in Digital Space" > Apr27 to Apr29
>
>|||<>|||///\\\///\\\|||O|||///\\\///\\\|||<>|||
>
>Conf > "Race in Digital Space" > Apr27 to Apr29
>
>http://cms.mit.edu/race/
>
>A national conference on race and new media technologies
>Friday, April 27, through Sunday, April 29, 2001
speakers include: Vivek Bald, Alondra Nelson, Beth Coleman, Paul D.
Miller a.k.a. Dj Spooky that Subliminal Kid, Alex Rivera, Coco Fusco,
Kalamu Ya Salaam, Elizabeth Nunez, and others
>MIT campus, Cambridge, Mass. in conjunction with University of
>California Santa Barbara, and the Yerba Buena Center, and New York
>University
performance by Paul D. Miller a.k.a. Dj Spooky that Subliminal Kid
Dj Singe (Beth Coleman)
Vivek Bald
and others
>
>The conference will serve as a touchstone for thinking critically
>about race in digital environments and focusing conversation not
>only on where we have been and are, but where we need to go and how
>we might get there.
>
>|||<>|||///\\\///\\\|||O|||///\\\///\\\|||<>|||
------------------------------
Date: Fri, 27 Apr 2001 18:07:11 +0200
From: "clement Thomas - pavu.com" <ctgr@free.fr>
Subject: [ big bOXe ] Art Frankfurt 2001 - pavu.com - artcart.de
ART FRANKFURT 2001
April 28th - May 1st 2001
pavu.com by artcart.de special invitation presents :
Beef It or Salad Solo ?
Pick & Prepare your artcart.de Cuts of Beef
http://www.pavu.com/bigboxe/beef.htm
Swing skirting or Maracas scaloping ?
pavu.com Champion's régime and Master's behavior
http://www.pavu.com/bigboxe/boxeStoreRing.htm
big bOXe !
BEEF IT or sWINg IT !
media streaming and Beaming !
http://pavu.com - get ready for the En-Garde !
http://artcart.de - Be Avantgarde - Buy Net.Art !
- ---------------- ++
full programme :
http://www.pavu.com/bigboxe/artcart-programme.htm
artcart presents: pavu.com and Takuji Kogo ( Mo. 30.4.01 )
====================================================================
MONDAY, 30.04.2001
FROM 6 - 8 p.m.
location: Webcast-Lounge 1.1 F71
Messe Frankfurt
!!!The show will be streamed onto the Internet (
http://www.stationrose.com )!!!
art frankfurt promotional offer: FREE 10 Bull-DgH title
====================================================================
the artcart.de special PROMOTIONAL OFFER at art frankfurt:
buy on artcart.de and get a FREE 10 Bull-DgH title to invest on pavu.com
NELia market !
http://www.pavu.com/bigboxe/Bull-DgH/index.html
http://www.GNouFL.com
artcart art frankfurt edition
========================================
Have a glance on recent net.art published by artcart.
http://www.artcart.de/edition
artcart at art frankfurt
=============================================
13th Art Frankfurt - the European Fair for Young Art - in Frankfurt
from 28th April to 1st May 2001.
NOW for the first time a NET.ART Gallery will be displaying an exciting
range of net.art at an ART FAIR!!
Lew Baldwin, Blank/Jeron, Heath Bunting, Valery Grancher, Yael Kanarek,
Takuji Kogo,
Antonio Mendoza, Mouchette, Tina LaPorta, J. R.Leegte, Peter
Luining/LFOUNDATION, mi_ga,
pavu.com, Melinda Rackham, Erwin Redl, Teo Spiller and ZDEN
artcart (http://www.artcart.de) the net.art gallery with online shop
founded and curated by mario hergueta
***********************************************
special thanx to Station Rose - http://www.stationrose.com
and the "Webcast Lounge"
[ In cooperation with Station Rose (Elisa Rose and Garry Danner), Art
Frankfurt is the first art fair to give the subject of net.art its own
forum. ]
13th Art Frankfurt - the European Fair for Young Art - in Frankfurt
from 28th April to 1st May 2001.
------------------------------
Date: Sat, 28 Apr 2001 10:16:20 +1000
From: "geert lovink" <geert@xs4all.nl>
Subject: who wants to review vectorial elevation?
Recently, a book appeared dealing with the work of the (interactive)
media artist Rafael Lozano-Hemmer. It is bilingual (English/Spanish)
and contains, besides description of his works, a collection of essays
by a variety of media theorists.
Complimentary review copies of the book "Vectorial Elevation" are now
available. To receive one please send your name, address and media
affiliation to Jacinta Laurent at <jacintalaurent@yahoo.com>.
Contributors include Andreas Broeckmann, Daniel Canogar, Erik Davis,
María Fernández, Erkki Huhtamo, Geert Lovink, Rafael Lozano-Hemmer,
Brian Massumi, Mónica Mayer, José Luis Paredes "Pacho" and Axel Roch.
http://www.alzado.net/book.html
------------------------------
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