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Table of Contents:
Call to Artists/Writers/Thinkers for upcoming Symposium: Smart, Sexy Healthy. At
Lori Ward (by way of Mathew Kabatoff <mkabatoff@UCSD.Edu>) <lori_ward@banffcentr
Wiretap 7.08. Carte Blanche
Nat Muller <Nathalie.Muller@skynet.be>
ASU2 = [art+alt+act]x[servers+streamers+spaces]xUNLIMITED
Zeljko Blace <zblace@alu.hr>
RADIO FRO PROJECT AT ARS ELECTRONICA 2001
"Alexander Baratsits" <alex@fro.at>
TODAY LIVE FROM THE TUNDRA/AUJOURD'HUI DIRECT DE LA TOUNDRA
"Anastasia Kitsos" <anasandra@attcanada.net>
Who Pays ? PalmRant #3
"G.H. Hovagimyan" <gh@popstar.com>
idea virus_ disinfectant
aurora@easynet.co.uk (Sarah Thompson)
Judge Rules Barbie Parody is Free Speech - Reuters
"George(s) Lessard" <media@web.net>
[Summary] Hubert Dreyfus's *ON THE INTERNET* --by Arun Tripathi
Arun-Kumar Tripathi <tripathi@statistik.uni-dortmund.de>
klubradio popkomm party streams
Pit Schultz <pit@klubradio.de>
00 01 BYTESIZE
richard barbrook <richard@hrc.wmin.ac.uk>
BES - Bolsa Arte Experimental =?iso-8859-1?Q?Interm=E9dia?= 2002 -
"isabel alves" <isabelalves@mail.telepac.pt>
<meta name="description" content="no-content">
"| ||||| | |||| || |" <vibri@internet.com.uy>
------------------------------
Date: Wed, 15 Aug 2001 17:49:37 GMT
From: Lori Ward (by way of Mathew Kabatoff <mkabatoff@UCSD.Edu>) <lori_ward@banffcentre.ca>
Subject: Call to Artists/Writers/Thinkers for upcoming Symposium: Smart, Sexy Healthy. At the Banff New Media Institute.
Call to Artists/Writers/Thinkers for upcoming Symposium: Smart, Sexy Healthy.
At the Banff New Media Institute.
The Banff New Media Institute is looking for Artists/Writers/Theorists to
participate in a discursively rich and provocative Think Tank this coming
September entitled Smart, Sexy, Healthy (see description below). Cultural
producers who engage with the technological visioning of other spaces, places,
and experiences are asked to contribute to this event, and be a part of the six
year legacy of high wire networking and sublime nature that comprises the Banff
New Media Institute.
Smart, Sexy and Healthy
September 6 - 8, 2001
Tuition: $300
How can we use technology to imagine another's experience? This think tank
brings together able bodied and disabled designers, technology users,
theorists, researchers, health care practitioners, and technology developers,
to explore the capabilities of networked and immersive technologies to educate,
heal, and redefine sensory perception and experience. How can the new
possibilities for visualization provided by computer technologies make us more
aware of each other's challenges and physical experiences? What are the limits
of networks and technologies in diagnosis and application? Issues include
Diagnostics and Technologies; Extended Perceptions; Integration, Cultural
Differences and Health in Networked Contexts. One case study will include the
navigation of The Banff Centre campus.
If you have special needs, please let us know and we will do our best to
accommodate you.
If you are interested in participating in the event or would like to find out
more information please contact:
Lori Ward
Research Fellow
Banff New Media Institute
Tel. (403) 762 6661
Fax (403) 762 6665
http://www.banffcentre.ca/nmi
lori_ward@banffcentre.ca
------------------------------
Date: Thu, 16 Aug 2001 00:45:56 +0200
From: Nat Muller <Nathalie.Muller@skynet.be>
Subject: Wiretap 7.08. Carte Blanche
Wiretap 7.08: Carte Blanche
Presentation
Thursday 30th August, 20.30 h, doors open 20.00 h, location V2_,
Eendrachtsstraat 10, Rotterdam, entrance fl. 10,-
Work-in-progress exhibition
Thursday 30th Augustus - Sunday 2nd September 2001, Thu - Sat 12.00 - 18.00
h, Sun 12.00 - 17.00 h, location: V2_, free entrance
Maps appear in many guises and forms, conveying various messages and
agendas. Cartography has always played a role in the representation of
spatial and political reality. Thus besides being a navigational aid, a map
is also an ideological tool.
In a society where our worldview is continuously changing due to rapid
technological developments and the effects of globalisation, the static
maps of yore, which feign the semblance of stability and immutability, are
outmoded. New technologies provide us with 3D maps, dynamic maps with
automatic update functions, animated and interactive maps which chart
variable processes and complex relations.
The digitalisation of cartography has had to its effect that the
visualisations of data are far from dry snapshots of reality. Maps are
increasingly playing a more directive role in the representation, but also
in the active shaping of reality. Moreover, maps plot their own realities
and cross the lines between information carrying and information shaping.
Reality is in the eye of the map maker? Wiretap 7.08 maps out the blanks
with pressing critical questions.
Guests:
Martin Dodge (GB)
Is a computer technician, researcher and part-time Ph.D. student at the
Centre for Advanced Spatial Analysis (CASA), University College London.
Currently he is working on temporary secondment with Peacock Maps in
Washington DC. His background is in social geography and geographical
information systems. His Ph.D. research is on the geographical analysis of
the Internet and mapping cyberspace. He directs the Cyber-Geography
Research project. He is together with Rob Kitchin author of Mapping
Cyberspace (2000) en Atlas of Cyberspace (2001).
Michael Pinsky (GB)
Graduated from the Royal College of Art in 1995. His work explores
relationships between architectural spaces and perceptions of time. His
most recent projects include; 'Transparent Room', a site-specific video
installation which was shown at a number of venues including Leeds City Art
Gallery and Watershed, Bristol, and 'Overload' an installation first
exhibited in Weimar, Germany and developed during residencies at the
Zentrum fur Kunst und Medientechnologie (ZKM), Germany and the Ecole d'Art
d'Aix-En Provence, France. His work has been featured by publications such
as The Guardian and Creative Camera. He is currently developing his latest
project ‘In Transit’ as EMARE artist in residence at the V2_Lab.
STEALTH group (NL)
Ana Dzokic
Graduated from the Faculty of Architecture Belgrade, Yugoslavia where she
initiated in 1996 Projekt X, a large international cultural event. In 2000
she received her Masters at the Berlage Institute in Amsterdam. She is
co-founder of research and design practice, STEALTH group from Rotterdam.
Marc Neelen
Graduated from the Faculty of Architecture in Delft, The Netherlands. In
1998 he established his practice for architecture and media that evolved
into STEALTH group, based in Rotterdam. He is working as an editor of
ArchiNed (architecture internet organisation of the Netherlands) and
participates in the Smart Architecture network.
Work-in-progress exhibition:
‘In Transit’ Michael Pinsky
Pinsky creates interactive maps that alter conventional perceptions of
urban time and space. Noting the resultant travel times between urban
locations as a form of plotting device, the maps are then constructed to
show points in time rather than space. They re-organise the city's form,
and our understanding of it, in terms of a temporal as well as geographic
dimension.
‘Genetics of the Wild City’ STEALTH Group
In contradistinction with static mapping techniques ‘Genetics of the Wild
City’ presents the development of a set of tools and a specific methodology
for the dynamic mapping and visualisation of complex urban processes and
transformations. This project started from the reality of Belgrade, the 2
million inhabitants’ capital of Yugoslavia a city that experienced the
abrupt change from a centrally conducted to an atomised growth, steered by
individual needs. The project draws its metaphors and parallels from
studies of genetics and computer viruses.
‘Safetown Project’ - Laurent Neyssensas & Frédéric Degouzon
The ‘Safetown’ project is a photographic inquiry in urban space, based on
the colour reduction process of palettes used in computer graphics.
Neyssensas’ and Degouzon’s approach consists of applying the technique of
palettes to urban tissue in order to draw a general and systematic vision
of the whole entity, which is designed for interactive electronic broadcast.
Bookmarks
Martin Dodge
http://www.atlasofcyberspace.com
http://www.cybergeography.org
http://www.mappingcyberspace.com/
http://www.geog.ucl.ac.uk/casa/martin/martin.html
Michael Pinsky
http://www.watershed.co.uk/transparent/
Laurent Neyssensas & Frédéric Degouzon
http://www.safetown.org
Producer: V2_Organisatie, Eendrachtsstraat 10, 3012 XL Rotterdam. More info
www.v2.nl/wiretap
V2_events are streamed live at www.v2.nl/live
The Wiretap 7 series is supported by Cultural Affairs, City of Rotterdam,
Ministery of OC&W, Luna Internet, Thuiskopie fonds, Rotterdamse
Kunststichting
------------------------------
Date: Thu, 16 Aug 2001 12:49:07 +0200 (MET DST)
From: Zeljko Blace <zblace@alu.hr>
Subject: ASU2 = [art+alt+act]x[servers+streamers+spaces]xUNLIMITED
________ASU2_____
.art/.alt/.act
servers < uvw >
streamers (~¢°o@)
spaces [ >-< ]
u n l i m i t e d
______________________________________________________________
meeting/festival with hands on workshops, demos, trainings,
presentations, discussions, public performaces, webcasts...
of non-profit cultural organizations/initiatives/individuals
______________________________________________________________
organiser : http://www.LABinary.org/
co-organisers : http://www.ljudmila.org/
http://www.pro.ba/
http://mama.mi2.hr/
partners : Croatian & Slovenian Linux User Groups
CARNet - Croatian Academic & Research Network
time : September, 08th - 15th 2001.
location : KUC "Lamparna",
Rudarska 1.
52220 Labin
CROATIA
contact : Zeljko Blace - zblace@alu.hr &
Joanne Richardson - subsol2001@yahoo.com
__________________________________________________________________________
The first Art Servers Unlimited was organized by Manu Luksch &
Armin Medosch on the summer weekend of 1998, in London's NewMediaCentre,
Backspace and ICA, as a forum in which over 50 participants from
European countries gathered to analyze models, compare histories and
agendas, and exchange experience of what were loosely named "art servers".
ASU was a bottom-up set of initiatives to support the blend of
creative/experimental/artistic/ critical use of the net which included
providing internet access, bursaries, workspace, meeting, presentation.
http://asu.sil.at/
In the context of the recent trend towards unconditional
commercialization of croatian net space (same applies for the whole
region), it has become increasingly important to organize ASU2 meeting in
Croatia at the present moment to help span some of the new and alternative
ideas on production and conceptualisation of cyber buzz.
By organising event in Labin we are providing good access to regional
participants and avoiding short form meeting which is conditioned by high
organising costs in EU countries. The fact of being 4Km from beach of
Adriatic see should be regarded as accidental ;)
A number of projects (net.radio, web portals, clubs, media
labs...) whose work is beneficial to the emergence and development of
internet specific structures, forms of organization, hybrid-hyper-media
and netwok distributed productions are invited to present discuss and
reflect on their work. ASU2 is planned as a meeting of projects from the
most active fields of independent non-profit web production:
.art - net.art,
.alt - alternative technologies &
.act - autonomous media.
we try to further connect this three areas and enhance their activity in
different ways by merging the most interesting and relevant content, with
new technology and active audience participation.
ASU2 is a meeting, workshop and festival bringing together
pioneers of independent media/media-art projects, newly emergent media
spaces/labs, and autonomous art servers which provide services/tools to
the cultural sector. It is a collaborative union of what were initially
conceived as two independent projects,
Art Servers Unlimited and Art Spaces Unlimited.
The goal of Art Spaces Unlimited is to develop ad hoc associations
that will lead to sustainable networks of communication in the future:
collaborations on organizing joint events, group applications for funding
and sharing of resources, establishing information lists and sites. Many
independent art spaces in East-Central Europe, including technologically
sophisticated media labs, still rely on the monopoly of commercial net
space and technologies for disseminating material and for facilitating
networks.
The idea to combine the Art Servers Unlimited and Art Spaces
Unlimited, sprang from the current need to extend the activities of
self-organized art spaces toward developing new autonomous servers, and
simultaneously, from the desire to provide existing art servers with links
to local initiatives that could provide content as well as the possibility
to collaborate by hosting events.
The first Art Servers Unlimited was a meeting of a technologically
sophisticated but closed culture of art servers. ASU2 is extended to those
who are not already "experts" in order to expand the field beyond its
present boundaries. The goal is to begin building a comprehensive
infrastructure necessary for an autonomous culture to possesses its own
spaces, networks, and technologies and to control its own destiny. By
doing this we are helping laverage cultural production of EU and Eeastern
Europe, in the area of most dynamic cultural production (new technologies
and media arts).
From its inception, ASU2 has assumed the form of a open
collaborative work; the organization of the structure and content of ASU2
is being discussed and planned on an email list, with suggestions for
program and scheduale made by all participants.
Objectives and Goals :
- - to present projects, initiatives, institutions and individuals who
creatively use new technologies for media production, content distribution
and archiving, while reflecting on strategies.
- - to start training programms in cultural management, organization, and
funding for newly established NGO's, and to extend the technical
capabilities of media centers through workshops on web streaming
technologies, media production, distribution and archiving strategies,
content managment systems, and community based publishing.
- - to establish a partnership with educational institutions for both
technology and disemination of knowledge/skills/sensibility for
non-commercial cultural production.
- - to establish permanent exchange of practical skills, knowledge,
experiences in wider European context through system of annual meetings,
workshops, dedicated webservers with relevant resources, and the
production of training materials (readers & video material);
- - to establish network of non-commercial content providers in fields of
art, alternative technology and autonomus media that would produce and
distribute content, share resources and knowledge while expanding it's
reach to wider audience. Establishing of such international body would
help influence international(EU) policies in ICT and new media culture;
- - to connect existing initiatives in this field from other regions of
Europe (ECB, NICE, Interfund...) with local initiatives.
web: http://www.labinary.org/ & http://browse.mi.cz/asu/
+ new bilingual issue of LABinary newsletter will be available on
Ars Electronica Festival in Linz and from co-orginisers as of 1th of Sept.
Best,
organizers of ASU2.
.. :::...:: ::.:::...:..:.:: .. .. ::..::: .. ::.:: ..
.plan as a mission
------------------------------
Date: Thu, 16 Aug 2001 16:02:41 +0200
From: "Alexander Baratsits" <alex@fro.at>
Subject: RADIO FRO PROJECT AT ARS ELECTRONICA 2001
TAKE OVER SYSTEMS/CONNECT SYSTEMS
Independent Media Networking
A project by RADIO FRO in cooperation with the ARS ELECTRONICA Festival 2001
2. - 3. September 2001, Linz (A)
http://www.fro.at/connect_systems/
1. CONTENT
2. TIMETABLE PANELS
3. THE CULTURAL CHANNEL (radioqualia/ NZ)
4. WORKSHOPS
1. CONTENT
Formats, software solutions and communication routes for international
program and content exchange:
Participants from the Audio Festival the Free Radios of Switzerland,
Germany and Austria, different content providers as Onda and representatives
from independent media networks such as Indymedia will discuss and present
different solutions and approaches.
As test run for an international art and culture channel making use of
streaming technologies and the link-up of various audio databanks a cultural
channel will be set up during the ARS ELECTRONICA Festival 2001.
Streaming workshops and guided tours will give an insight in practical work
with software systems and video- and audiostreaming technologies..
2. TIMETABLE PANELS
Language: English
PANEL A. TECHNICAL COLLABORATION
Monday, 3rd September 2001: 10.30 till 13.00, Hörsaal A/ T.O.C.
Presentations by Thomax Kaulmann (meta.orang.org/Berlin), Thomas Horner
(Cultural Broadcasting Archive, Fromat/Radio FRO/Linz), Timo Stadler
(www.freieradios.net /Bundesverband Freier Radios Deutschland), Ljiljana
Neskovic (ANEM/ Belgrad), Walter van der Cruijsen (desk.org), Christian Koch
(TU Illmenau, BRD), Zeljko Blace (ogg.vorbis)
Presentation of content-exchange models. How could/must systems be
developed, so that they can be used for automatic content exchange?
Host: Alexander Baratsits (Radio FRO/Linz)
PANEL B. CONTENT EXCHANGE:
Monday, 3rd September 2001: 14.30 till 17.00, Hörsaal A/ T.O.C.
Presentations by Helmut Peissl (Verband Freier Radios Österreich), Honor
Harger (radioqualia/AUS), Kathi Hahn (Europäisches Bürgerforum/AIM), Winnie
Enderlein (ONDA, asked)
Presentation of an evaluation concerning program- and content exchange
within free radios in Austria, Germany and Switzerland. Philosophy in the
Xchange surrounding, crosscultural and international background. Discussion
of formal and contentwise questions (language, duration, actuality ...) What
could be the target groups of certain formats and programs and broadcasts?
Host: Helmut Peissl
PANEL C. SUSTAINABLE NETWORKING
Tuesday, 4th September 2001: 10.30 till 13.00, Hörsaal A/ T.O.C.
Presentations by Adam Hyde (Cultural Channel/ Open Source Streaming
Alliance), Micz Flor (Campsite, Cz), Mike Riemel (clubradio.de), N.N. (no
border - no nation), N.N. (VolxTheaterKarawane)
What are the economic base conditions of Independent Media? Is it possible
to build up an economic platform for lasting and independent public-domain
infrastructures/exchange networks based on mixed financing,
bartering/content-exchange in todays society?
Host: Guenther Hopfgartner
3. THE CULTURAL CHANNEL
Through a cultural channel an example for free space within the media sector
will be presented. The concept is by the two protagonists of radioqualia,
Honor Hager and Adam Hyde. The channel is a continuous independent net.radio
and streaming video program platform that is run through international
collaboration. The linked metadatabase and radiocontrolsystem frequencyclock
connects different contentsources in the internet, databases such as
orang.orang.org, livecasts, websites. A small production-group with members
of the Xchange-network will set up this channel.
Through the Open Source Streaming Alliance, a network of streamingservers in
Sidney, New York and Amsterdam there will be an international relaying of
the program.The goal to investigate processes for making arts and cultural
streaming content visible on the internet. The cultural channel will be
launched at the Ars Electronica Festival 2001 and be continued as managed
artist project.
4. WORKSHOPS
Besides the panels and guiding tours there is the possibility for the
attendants of the Ars Electronica Festival to take part in various workshops
at different points of the program, creating the program itself actively
according to the means of Open Access.
WORKSHOP STREAMING TECHNOLOGY
Hosts: Oliver Neumann and Karin Heide
The workshops will be offered for Beginners on Sunday, 2. September 2001
from 15.00 till 18.00 P.M. and for Advanced on Tuesday, 4th from 15:00 to
18:00 PM. Fee is ATS 150, - For inscriptions please mail to:
barbaraw@fro.at
Audio- and Videostreamingtechnology, Video- and Audioengineering for the
Internet, Actual work on, Traineeworkstations, Different backgrounds of
softwarecodes, Productionguidelines for Streaming Audio/Video,
Compressability of various Imagecontents (Compression in Mediacleaner,
Rendering with different Codes/Datastreams)
Embedding of a video in a html-page, Technical Background of Video- and
Audiostreaming
WORKSHOP CULTURAL CHANNEL
Attendants of the ARS can furthermore work out together with the team of
Adam Hyde on the functioning, contentwise and technical basics of the
cultural channels, cocreating the programming and actual running of the CC
themselves and launch an own channel. Participation is free. No inscription
needed.
Background and Working with frequencyclock software Collecting, Filtering
and Organizing relevant Content for the Cultural Channel, Programming of a
Realaudiostream, Launching an own Cultural Channel
------------------------------
Date: Thu, 16 Aug 2001 10:57:38 -0700
From: "Anastasia Kitsos" <anasandra@attcanada.net>
Subject: TODAY LIVE FROM THE TUNDRA/AUJOURD'HUI DIRECT DE LA TOUNDRA
:: version française çi-bas ::
AUGUST 15 AOUT 2001
LIVE FROM THE TUNDRA
sights and sounds from a Baffin Island outpost camp
August 2001
http://www.nunatinnit.net
Hundreds of kilometres, and a day-long boat ride across the Arctic Ocean
from the nearest phone or power lines, a group of Inuit and non-Inuit
inhabitants of a remote outpost camp on Canada¹s Baffin Island are sending
daily audio and video dispatches to the rest of the world via the Internet,
thanks to cutting-edge satellite phone and mobile computing technologies.
LIVE FROM THE TUNDRA gives internauts around the world a remarkable glimpse
into the "life on the land" that Inuit elders Vivi and Enuki Kunuk have
pursued all of their lives. Celebrating this traditional Inuit lifestyle
under the glorious arctic sun, the trilingual website (English, French,
Inuktitut) offers fresh daily content over a five-day period comprised of a
journal, photos, video and audio clips. Site visitors can also interact with
participants at the outpost camp via a chat forum.
***** TODAY on LIVE FROM THE TUNDRA *****
************** AUGUST 16, 2001 ******************
PHOTO: Preparing and eating delcious caribou meat
VIDEO: Martha Nangmalik shows us how to make an amazing batch of bannock
WRITTEN WORD: The Nangmalik Diaries continued - Michelle and Jayson take a
dip in the lake
AUDIO: Part Three and Four of Vivi's tale of canibalism
Interact with the outpost camp inhabitants by participating in the
QAGGIQ (Inuktitut. n. "gathering place"), the website chat forum:
http://www.nunatinnit.net/en/forum/index.html
****************************************************
NUNATINNIT NOMADIC MEDIA LAB
Video, audio and written material are created and uploaded to the web site
from the Nunatinnit Nomadic Media Lab, a large canvas tent pitched at the
Kunuk family¹s camp. Named after the Inuktitut word for "at our place," the
lab houses a variety of mobile media and computing equipment. Access to the
Internet is made possible by a high-speed-data Inmarsat-M4 satellite phone
provided by Stratos Global Corporation.
LIVE FROM THE TUNDRA is produced by Arnait Video Productions with the
collaboration of the Canada Council for the Arts, Conseil des arts et des
lettres du Quebec, and Stratos Global Corpration.
- -30-
Anastasia Kitsos, Publicist
Tel.: +1-514-276-7594
Cel.: +1-514-998-7667
E-mail: akitsos@mac.com
:: FRENCH VERSION ::
EN DIRECT DE LA TOUNDRA
Images et sons à partir d¹un camp de chasse - région d¹Igloolik, terre de
Baffin
août 2001
http://www.nunatinnit.net
A une centaine de kilomètres d¹une centrale électrique ou d¹un téléphone et
à plusieurs heures de voyage en bateau du prochain village, un groupe
d¹Inuit et de Œqabluna¹ (personnes blanches) se rencontrent à un camp de
chasse sur la terre de Baffin. Les internautes du monde peuvent les visiter
parce qu¹ils feront parvenir sur Internet, grâce à une technologie
informatisée mobile et un téléphone satellite, des images, des sons et des
textes provenant de leur camp.
EN DIRECT DE LA TOUNDRA permet aux internautes du monde de saisir des
moments de la vie sur la terre telle que vécue par les Aînés Vivi et Enuki
Kunuk. Célébrant cette vie exigeante et extraordinaire, le site trilingue
(anglais, français et inuktitut) offre des contenus nouveaux, photos, vidéo,
textes et sons, à chaque jour pendant 5 jours. Les visiteurs peuvent aussi
communiquer avec les résidents du camp par l¹entremise d¹un forum de
discussion.
*** AUJOURD'HUI sur EN DIRECT DE LA TOUNDRA ***
******************** 16 AOUT, 2001 ************************
AUDIO: Vivi Kunuk nous raconte la suite de son histoire au sujet de
cannibalisme.
TEXTE: Le journal Nangmalik continué - Michelle et Jaysomn plongent dans le
lac.
VIDEO: Matha Nangmalik nous montre comment préparer sa recette de bannock.
PHOTOS: La préparation de la délicieuse viande de caribou pour souper.
Communiquer avec les résidents du camp par l¹entremise d¹un forum
de discussion, le QAGGIQ (Inuktitut. n. "lieu de rassemblement"):
http://www.nunatinnit.net/fr/forum/index.html
************************************************************
LE LABORATOIRE MÉDIATIQUE NOMADE NUNATINNIT
(chez nous en inuktitut)
Des clips vidéo, audio et des textes sont produits et envoyés sur le site à
partir du laboratoire médiatique nomade Nunatinnit, une tente de canevas
situé au campement des Kunuk. Le laboratoire portable comprend cette année
une variété d¹équipement électronique. L¹accès à Internet est possible
grâce à un téléphone satellite Inmarsat-M4 prêté par la compagnie Stratos
Global Corporation.
EN DIRECT DE LA TOUNDRA est produit par Arnait Video Productions avec la
collaboration du Conseil des arts du Canada, du Conseil des arts et des
lettres du Quebec, et de Stratos Global Corporation.
- -30-
Anastasia Kitsos, publiciste
Tel.: +1-514-276-7594
Cel.: +1-514-998-7667
E-mail: akitsos@mac.com
------------------------------
Date: Thu, 16 Aug 2001 09:41:35 +0800
From: "G.H. Hovagimyan" <gh@popstar.com>
Subject: Who Pays ? PalmRant #3
The rants continue ---
for the (re)distributions exhibit
<http://www.voyd.com/ia>
I've added 2 new PalmRants downloadable to
your Palm OS PDA :
1. Who Pays ? (tealMovie 965k)
<http://artnetweb.com/gh/who.pdb.zip>
2. Who's Paying for This ? (text 2k)
<http://artnetweb.com/gh/palmTexts/pays.html>
Full description of piece and instructions
<http://artnetweb.com/gh/rants.html>
I've also added a section where you can
download a Palm OS Emulator and the rom files
for the emulator.
<http://artnetweb.com/gh/entertainMe.html>
I've had trouble getting the sound to function on
the emulator.
- --
_______________________________________________
FREE Personalized E-mail at Mail.com
http://www.mail.com/?sr=signup
Talk More, Pay Less with Net2Phone Direct(R), up to 1500 minutes free!
http://www.net2phone.com/cgi-bin/link.cgi?143
------------------------------
Date: Thu, 16 Aug 2001 18:38:20 -0400
From: aurora@easynet.co.uk (Sarah Thompson)
Subject: idea virus_ disinfectant
content-type.org = an anti-net idea virus*
some urls so far presumed contaminated :
http://members.ams.chello.nl/fritzd/
http://members.ams.chello.nl/fritzd/revents.html
http://mama.mi2.hr/alive/eng/index.htm
http://mama.mi2.hr/alive/eng/mestrovic.htm
http://members.ams.chello.nl/fritzd/text/dogro.html
http://www.x-arn.org/isea2000/syndicate.html
http://www.digitalartsource.com/pages/suggestions.shtml
http://www.netzwissenschaft.de/kuenst.htm
http://www.netzwissenschaft.de/e.html
http://www.netzwissenschaft.de/sem/schaub.htm
http://www2.arnes.si/~ljintima3/josephine.html
http://archee.qc.ca/ar.php3?btn=texte&no=137
http://www.xcult.ch/texte/basting/index.html
http://www.xcult.ch/index.html
http://www.xcult.ch/index_e.html
first manifesto
of highly regarded women artists
http://www.xcult.ch/ateliers/atelier1/erstes.manifest/index_e.html
http://www.xcult.ch/texte/basting/00/rhizome_e.html
http://www.artistsai.org/titlepage.html
http://www.fictive.net/porn/
http://www.artistsai.org/AAI_MemCat/_clay_paul.html
http://www.fictive.net/F_proj/proj.html
NET ART CRITIQUE GENERATOR
http://www.fictive.net/F_links/flinks.html
fASHION ART
http://www.fictive.net/website/yukikotakagi/index.html
http://www.hotkey.net.au/~netwurker/colablog1.htm
http://www.ubermorgen.com/WORDWAR/TXT_ARCV_RAW/EXTREME_ARCHIV/LIBRARY/
APOCALYPSE_v_beta/
http://www.eusocial.com/242.art.mafia
http://www.interact.com.pt
to disinfect apply : authentication, authenticity, responsibility, history**
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
http://www.content-type.org.uk
sponsored by the Campaign For Real Communication
FoReal.Comm
Human. Not posthuman. Not transhuman. Not cyborg. Human. Only.
*
for details of idea virus http://www.ideavirus.com/
Ideavirus is a trademark of Do You Zoom, Inc.
**
authentication: promoting standards of verification of identity online
authenticity: respecting artists' authorship and integrity of data
responsibility: taking responsibility for verifying information sources online
history: recognizing the importance of history, in the electronic and
digital arts, for building a context for respecting authorship and
integrity of data
------------------------------
Date: Thu, 16 Aug 2001 19:02:27 -0400
From: "George(s) Lessard" <media@web.net>
Subject: Judge Rules Barbie Parody is Free Speech - Reuters
IN THE COURTS
Judge Rules Barbie Parody is Free Speech - Reuters
A federal judge has ruled that 42-year-old Barbie has the right to pose
nude in martini glasses and blenders. Judge Ronald Lew ruled that the free
speech rights of Utah artist Tom Forsythe -- who was sued by Mattel two
years ago after he parodied Barbie dolls in a series of photographs meant
to focus on impossible beauty myths -- outweigh the company’s trademarks
and intellectual property rights. Legal experts called the ruling a blow
to Mattel and other companies that sue artists who attempt to use their
products for creative expression. Tom Forsythe's Web Site:
http://www.creativefreedomdefense.org http://www.msnbc.com/news/613460.asp
*** Via / From / Thanks to the following :
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- 30 -
------------------------------
Date: Wed, 15 Aug 2001 23:30:56 +0200 (MET DST)
From: Arun-Kumar Tripathi <tripathi@statistik.uni-dortmund.de>
Subject: [Summary] Hubert Dreyfus's *ON THE INTERNET* --by Arun Tripathi
Hello,
Recently Professor Hubert Dreyfus has written a book --entitled as On the
Internet: Thinking in Action, which is published by Routledge Press, 2001
[Paperback - 136 pages (March 2001) Routledge; ISBN: 0415228077 ;
Dimensions (in inches): 0.44 x 7.79 x 5.08]
The Internet Book is available through the following websites..
<http://www.amazon.com/exec/obidos/ASIN/0415228077/qid=996761712/sr=2-1/ref=aps_sr_b_1_1/103-9408131-9890200>
and
<http://www.routledge-ny.com/cgi-tin/catalogdisplay.cgi?0415228069>
Short Bio of Author:
- ---------------------
Hubert Dreyfus presently an Emeritus Professor at University of
California, Berkeley, USA. His main interests are Phenomenology,
Existentialism, Philosophy of Psychology, Philosophy of Literature, and
philosophical implications of Artificial Intelligence. During the spawn of
his brilliant academic career, Professor Dreyfus has accomplished many
good objectives and built the path of knowledge and wisdom. In true
words, he is known to be the Messenger of Humanities. Perceiving his works
and researches in different disciplines of Science and Philosophy in my
humble opinion, he truly fits in the words of Vince Lombardi, The quality
of a persons is life is in direct proportion to their commitment to
excellence, regardless of their chosen field of endeavor. Professor
Dreyfus has also accomplished his PhD in early 60s. In 1963 at Harvard
University he wrote his PhD thesis on the topic Husserl's Phenomenology of
Perception: From Transcendental to Existential Phenomenology under the
supervision of famous Husserlian Dagfinn Follesdal.
- ---
Summary by Arun Kumar Tripathi
On the Internet: Thinking in Action, Routledge Press, 2001
Hubert Dreyfus ON THE INTERNET:The attraction and dangers of Internet
Platonism
[Thinking in Action is a major new series that takes philosophy to its
publica new challenge.]
[The book also discussed in short the Nietzsches amazing claim of Overman
(bermensch)]
In short:
- ----------
Leaving the body behind would fulfil the dream of Plato, who held that the
body was the tomb of the soul and followed Socrates in claiming that it
should be a human beings highest goal to die to his body and become a pure
mind. But it is astonishing fact, that the Extropians claim to be
following Nietzsche, not Plato, when they say we should transcend our
humanity. In fact, Nietzsches view of the body is in the very book about
the overman the Extropians love to quote (discussed in details).
Professor Hubert Dreyfus in the book has unveiled the hidden secrets thru
the eyes of a philosopher, by applying and exploring Kierkegaardian views
by translating The Present Age to the Net.
(Lewis Perelman, president of Kanbrain Institute, is a rare blend of
scholar, visionary, and pragmatist. An outspoken critic of both education
and reform, Perelman is convinced that education as we know it is obsolete
and irrelevant in today's world and workplace. Perelman is the executive
editor of Knowledge Inc., and director of Project Learning 2001, a study
of restructuring education and training sponsored by 12 U.S. corporations
and foundations concerned with finding ways to meet conditions listed in
Workforce 2000. Perelman's first book, The Global Mind (Mason/Charter,
1976), named one of the year's best scientific-technical books by Library
Journal, anticipated the impact of the global Internet and World Wide Web.
He is the author of the best-selling School's Out: Hyperlearning, the New
Technology, and the End of Education (Avon Books, 1993), based in part on
his work as a senior research fellow of the Hudson Institute, where he
served from 1989 to 1992 and worked on the Workforce 2000 Project
sponsored by the U.S. Department of Labor. Perelman has written articles
for Business Week, Forbes, Wired, and The Wall Street Journal.)
According to Lewis Perelman or his hypothesis:
The reality is that a new generation of technology has blown the social
role of learning completely inside out:
# Learning used to be a distinctly human process. Now learning is a
transhuman process people share with increasingly powerful artificial
networks and brains. Even today, expert systems and neural networks are
being trained by human knowledge engineers; the machines automated
expertise in turn is providing just-in-time learning for car mechanics,
power plant operators, and a growing legion of other workers.
# Learning was an activity thought to be confined to the box of a school
classroom. Now learning permeates every form of social activity work,
entertainment, home life outside of school. For what piano lessons would
cost, you now can buy an electronic piano that will teach you to play
it. Only a quarter of American adults know how to program a VCR; a new
model will teach you how in any of six languages. The fastest growing
cable TV networks The Discovery Channel and The Learning Channel are
devoted to learning. Of the more than sixty million Americans who learned
how to use personal computers since 1980, most learned from vendors,
books, other users, and the computers themselves, not in schools.
# Learning was presented as the result of instruction: a linear,
hierarchical process in which an expert teacher would pour knowledge into
the empty head of an obedient student. With knowledge doubling every year
or so, expertise now has a shelf life measured in days; everyone must be
both learner and teacher; and the sheer challenge of learning can be
managed only through a globe-girdling network that links all minds and all
knowledge.
# Learning or education was a task of childhood in preparation for
entering adult life and work. Now learning is literally the work of the
majority of U.S. jobs and will be what virtually all adults whether
employed, unemployed, or on welfare will do for a living by the early
years of the twenty-first century.
I call this new wave of technology hyperlearning, or just HL for short.
It is not a single device or process, but a universe of new technologies
that both possess and enhance intelligence. The hyper in hyperlearning
refers not merely to the extraordinary speed and scope of new information
technology, but to an unprecedented degree of connectedness of knowledge,
experience, media, and brains both human and non-human. The learning in
HL refers most literally to the transformation of knowledge and behavior
through experience what learning means in this context goes as far beyond
mere education or training as the space shuttle goes beyond the dugout
canoe.
These facets of the hyperlearning revolution are not Star Trek projections
but are events happening now. We have the technology today to enable
virtually anyone who is not severely handicapped to learn anything, at a
grade A level, anywhere, anytime.
Albert Einstein said that the atomic bomb changed everything but our
thinking. Hyperlearning is going to change everything and our thinking.
- -Lewis J. Perelman, School's Out: Hyperlearning, the New Technology, and
the End of Education (Avon Books, 1993)- [Chapter 1: Prolog: Learning 2100
and Chapter 2: Hyperlearning: A Technological Revolution]
The Internet Book raises the following questions:
Can we leave our vulnerable bodies while preserving relevance, learning,
reality, and meaning? The latest book of Hubert Dreyfus will examine in
complete details the various perspectives of the Net through the eyes of a
Philosopher the attraction of life on the Internet as a way of achieving
Platos dream of overcoming space and time as well as bodily finitude (as
Plato said Learning takes place independent of Time and Space in Mind).
Drawing on philosophers such as Soren Kierkegaard, Friedrich Nietzsche,
and Maurice Merleau-Ponty, Hubert Dreyfus discussed and seriously
criticised the Net. In his criticism, he explained that, in spite of its
attraction, the more one lives ones life through the Net the more loses a
sense of what is relevant, and so faces the problem of finding the
information one is seeking. Also, in spite of economic attraction of
distance learning, such learning by substituting telepresence for real
presence (how much presence is delivered by the telepresence?), leaves no
place for risk-taking and apprenticeship which plays a crucial role in all
types of skill acquisition. Furthermore, without a sense of bodily
vulnerability, one looses a sense of reality of the physical world and
ones sense that one can trust other people. Finally, he discussed while
the anonymity of the Net makes possible experimentation, the overall
effect of the NET is to undermine commitment (what Kierkegaard spelled out
in The Present Age) thus to deprive life of any serious meaning.
The book is divided into four chapters:
Chapter 1. Hyperlinks In this chapter The hype about hyper-links Professor
Dreyfus discussed the hope for intelligent information retrieval and the
failure of AI. He raised one good question, how the actual shape and
movement of our bodies plays a crucial role in grounding meaning so that
loss of embodiment leads to loss of relevance.
Chapter 2. Distance-Learning In this chapter, How far is Distance Learning
from Education? Hubert Dreyfus discussed the importance of mattering and
attunement for teaching and learning skills and phenomenology of skill
acquisition. Apprenticeship and the need for imitation. Without
involvement and presence he said we cannot acquire skills.
Chapter 3. Telepresence The chapter, Disembodied Telepresence and the
remoteness of the Real will let us know about the body as source of our
presence of causal embedding and attunement to mood. Hubert Dreyfus has
raised a question, how loss of background coping and attunement leads to
loss of sense of reality of people and things. (I see something like you,
but I dont see you and I hear something like you, but I dont hear you)
Chapter 4. Nihilism The last chapter (most important), Nihilism on the
Information Highway: Anonymity vs. commitment in the Present Age discussed
in details about the meaning, requires commitment and real commitment
requires real risks. The anonymity and safety of virtual commitments
on-line, leads to loss of meaning. In this chapter, Prof. Dreyfus
translated the Soren Kierkegaardian view of The Present Age to the Net. He
translated the idea of The Press to the Net. As he elsewhere writes:
In The Present Age (1846) Soren Kierkegaard condemns The Press for
contributing to the nihilism (terms coined by Nietzsche) of his age by
cultivating risk-free anonymity and idle curiosity and thereby levelling
all meaningful differences. He would surely have denounced the world wide
web for the same reasons.
Professor Dreyfus in the fourth chapter, has spelled out Kierkegaards
objections by considering how the web promotes the nihilism of
Kierkegaards two nihilistic spheres of existence and repels the third
non-nihilistic sphere.
Professor Dreyfus translated Kierkegaard's account of the dangers and
opportunities of what Kierkegaard called the Press into a critique of the
Internet so as to raise the question: what contribution -- for good or ill
- -- can the World Wide Web, with its ability to deliver vast amounts of
information to users all over the world, make to educators trying to pass
on knowledge and to develop skills and wisdom in their students? He has
then elaborated Kierkegaard's three-stage answer to the problem of lack of
involvement posed by the Press -- Kierkegaard claim that to have a
meaningful life the learner must pass through the aesthetic, the ethical
and the religious spheres of existence -- to suggest that only the first
two stages -- the aesthetic and the ethical -- can be implemented with
Information Technology and Net, while the final stage, which alone makes
meaningful learning possible, is undermined rather than supported by the
tendencies of the desituated and anonymous Net. All the commitments on the
Net are the Virtual commitments, as Hubert Dreyfus further explained:
Kierkegaard would surely argue that, while the Internet allows
unconditional commitments, it does not support them. Far from encouraging
them, it tends to turn all of life into a risk free game. So, in the end,
although it does not prohibit such commitments, it does inhibit them. Like
a simulator it manages to capture everything but the risk. Our
imaginations can be drawn in, as they are in playing games and watching
movies. And no doubt game simulations sharpen our responses for non-game
situations. But so far as games work by capturing our imaginations, they
will fail to give us serious commitments. We read dense texts or practice
a difficult piece of music day after day because they matter greatly to
us. But we are unlikely to stay with either for long when we have only an
imaginary ultimate commitment. Imagined commitments hold when our
imaginations are captivated by the simulations before our ears and eyes.
And that is what computer games and the Net offer us. The temptation is to
live in a world of stimulating images and simulated commitment and thus to
lead a simulated life. The test as to whether one had acquired an
unconditional commitment would come if one had the incentive and courage
to transfer what one had learned to the real world. Then one would
confront what Kierkegaard called "the danger and the harsh judgment of
existence". And precisely the attraction of the Net would inhibit that
final plunge. Anyone using the net who was led to risk his or her real
identity in the real world would thus have to act against the grain of
what attracted them to the Net in the first place. If Kierkegaard is
right, and the cyber-world is to avoid despair, it will have to find a way
of canceling this risk-free attraction and thereby support and encourage
strong identities in the real world where risk of failure and
disappointment is inevitable. The fourth chapter of the book is important
for educators.
(The opposite of nihilism is a world in which there are what Soren
Kierkegaard calls qualitative distinctions distinctions of what is right
and wrong, good and bad, trivial and important)
(Nihil es in intellectua non prius fuerit in sensu, is the Latin Phrase
meaning Nothing is in the understanding that was not earlier in the
senses. Hence, the central doctrine of the empiricism of Gassendi, Locke,
and Mill. Nihilism is the complete rejection of the existence of human
knowledge and values or denial of the possibility of making any useful
distinctions among things.)
Hubert Dreyfus has used some of his phrases to write the Internet book (to
discuss the ideas of The Press)such as Well if Soren Kierkegaard had
thought about this he would have said.
In the book, Professor Dreyfus very intelligently used the claim We would
speculate on how a past thought project would be worked out in the present
circumstances
In the above bookthe author tried to give answers in greater depth to the
questions, which is important in field of humanities and Philosophy that
why reach beyond ourselves and our humanity? Why seek to become
posthuman? Why not accept our human limits and renounce transcendence?
In my view, the book On the Internet discussed in greater depth the
important question How does the Dreyfuss Skill developmental model and his
non-representational learning relate to the Internet-facilitated
education!
In his paper on the Internet and education, Hubert Dreyfus, drawing on
Kierkegaard's work on the Press, challenges the popular view of the
Internet as a global classroom in which anybody and everybody can
participate in a process of so called `hyperlearning.' As Kierkegaard said
of the Press, Dreyfus says of the Internet, that it would promote
risk-free anonymity and idle curiosity, both of which undermine
responsibility and commitment. Dreyfus considers how the Net would
promote Kierkegaard's two nihilistic spheres of existence, the aesthetic
and the ethical, while repelling the religious sphere.
In the aesthetic sphere, the aesthete avoids commitments and lives in the
categories of the interesting and the boring and wants to see as many
interesting sights (sites) as possible. In the ethical sphere we would
reach a `despair of possibility' brought on by the ease of making and
unmaking commitments on the Net. Only in the religious sphere is nihilism
overcome by making a risky, unconditional commitment. Dreyfus concludes
that only by working closely with students in a shared situation in the
real world can teachers with strong identities, ready to take risks to
preserve their commitments, pass on their passion and skill to their
students. In this shared context students can turn information into
knowledge and practical wisdom.
In the article what can we expect from the technology -the author Stefano
Russo expressed the concerns about how we teach responsibility in the use
of information technology when we pay little attention to computing
ethics? There is also the danger of substituting virtual contact for
human interaction, through excessive Internet surfing, for example , or to
mistake the distorted use of technology portrayed in movies and television
as acceptable. Our young generations are particularly vulnerable to this,
and our guidance can help combat this influence. Some say that these
issues are much less important than the technology itself, but I believe
it is critical to educate about the good principles and rules associated
with being a member of the information society.
This work is a clear discussion of the promises of the Internet. Can it
really bring humanity to a new level of community and democracy and solve
the problems of mass education? Hubert Dreyfus, a writer on philosophy and
technology, brings a philosopher's eye to bear on an issue that affects us
all. Drawing on a diverse array of thinkers including Descartes and
Kierkegaard, Dreyfus draws parallels between the Internet and the birth of
a media-obsessed public in the 18th century and the Enlightenment quest
for a universal, abstract knowledge. He shows how the Internet ignores
essential human capacities such as trust, moods, risk, shared local
concerns and commitment. He also uses compelling examples from the
experience of teaching to show what "interactive" education leaves out.
In the article As Educators Rush to Embrace, a Coterie of Skeptics Seeks
to Be Heard Hubert L. Dreyfus said relying on the Internet would actually
discourage the passionate commitment that he saw at the heart of advanced
learning in any field. The risk-free anonymity of the Internet, he said,
makes it a good medium for slander, innuendo, endless gossip, and
ultimately, boredom. Without some way of telling the relevant from the
irrelevant and the significant from the insignificant, everything becomes
equally interesting and equally boring. He later argued, The nihilistic
pull of the new network culture doesnt prohibit such personal commitment
but does inhibit.
I would like to hear your feedback and criticism of my review of
Prof. Dreyfus's Internet book. Thanks in advance.
Sincerely yours
Arun Tripathi
Research Scholar & Educator
- --
------------------------------
Date: Thu, 16 Aug 2001 05:37:00 +0200
From: Pit Schultz <pit@klubradio.de>
Subject: klubradio popkomm party streams
- --------------------------------------------------------------------------------------
POPKOMM 2001 - live webcasts - 16.08.01 - 18.08.01 starting ~21-22 h GMT+2
- ---------------------------------------------------------------------------------------
Thursday, 16.08.01, ARTheater
VIVA ZWEI, Electronic Beats & EFA Dance Department pres.
"The State of E:motion": 10 years Tresor
Daniel Bell, Mad Max, Luke
techno
~22.00
Thursday, 16.08.01, Tiefenrausch
G2 & Urban Records pres.
“French Club meets Latino Club”
Tiefenrausch: Latino Floor feat. Knee Deep, Dan.Jel Schmidt, Sharam Jey,
Rene Suess + more acts tba.
latin house
~22.00
.................................................................................
Friday, 17.08.01, ARTheater
VIVA Electronic Beats pres.
"Tatort"
Randall, MC Fats, Walter B, MissDee, Mc Soultrain, Trick or Treat
DJ Wicked, M.B., Harry & Dirty O.
drum'n bass
~22.00
Friday, 17.08.01, Alter Wartesaal
VIVA ZWEI, Electronic Beats, Pop100 & PRINZ pres.
"Friendly Electric meets Drum Rhythm Night - Compost 100”
Michael Reinboth, Jazzanova, Rainer Trüby, Wordless People, Les Gammas,
Viktor Davies + very special guest
Live: Zero 7
house + nujazz
~21.00
...............................................................................
Saturday, 8.08.01, Casino, Floor 1
brought to you by http://www.DJ-Sets.com/
PRINZ, Intergroove pres.
„Illusion“
Sven Vaeth (cocoon), Monika Kruse (Terminal M), D.Diggler (Cocoon /
raum...musik / Konfekt)
Live: Thomas P. Heckmann (Wavescape)
techno + house
~22.00
Saturday, 18.08.01, Casino, Floor 3
PRINZ, Intergroove pres.
„Illusion“
Derrick May (Transmat), Maral Salmassi (Art of Perception / Konsequent)
& Electric Indigo (Indigo Inc.)
Live: Aril Brikha (Transmat / Logostic), Green Velvet (Music Man)
techno + house
~22.00
Saturday, 18.08.01, ARTheater
DE:BUG, WMF Club, VIVA ZWEI Electronic Beats & Native Instruments pres.
"Big Audio Earwash"
Floor 1: Sven v. Thülen, Highfish & Diringer, Mitja Prinz
Live: Rawell, Safety Scissors
techno + electro
~22.00
..............................................................................
check also the live program from the other klubs:
Tresor, WMF, Maria, Ostgut in Berlin
and Phonodrome in Hamburg
with Jazzanova, Ellen Alien, TokTOk, Rob Acid, Sieg ueber die Sonne,
Diego, Bob Brown.
http://www.klubradio.de
[ GEMA/GVL OK - realplayer (basic) needed - download at www.real.com/player ]
------------------------------
Date: Thu, 16 Aug 2001 15:36:47 +0100 (BST)
From: richard barbrook <richard@hrc.wmin.ac.uk>
Subject: 00 01 BYTESIZE
00 01 BYTESIZE
Nutopia and the University of Westminster present a selection of
postgraduate work from the Hypermedia Research Centre
DHTML | XML | Flash | Director | QuickTime | written word
Venue: nuspace at Nutopia, 42 Shelton Street, Covent Garden, London WC2
Date: Tues 28 - Thurs 30 Aug 2001
Time: 12 - 6pm daily
For more information visit
http://hypermedia.wmin.ac.uk
http://www.nuspace.co.uk
or email
blunt@perestroika.co.uk
------------------------------
Date: Thu, 16 Aug 2001 11:04:01 -0400
From: "isabel alves" <isabelalves@mail.telepac.pt>
Subject: BES - Bolsa Arte Experimental =?iso-8859-1?Q?Interm=E9dia?= 2002 -
FUNDA=C7=C3O LUSO-AMERICANA PARA O DESENVOLVIMENTO
=46UNDA=C7=C3O CALOUSTE GULBENKIAN
EXPERIMENTAL INTERMEDIA FOUNDATION
Bolsa Arte Experimental Interm=E9dia 2002
Em mem=F3ria de Ernesto de Sousa, pioneiro do experimentalismo
interm=E9dia em Portugal
A Bolsa Ernesto de Sousa (BES) proporcionar=E1 na sua nona edi=E7=E3o a
estada de mais um artista interm=E9dia portugu=EAs em Nova Iorque,
durante o m=EAs de Mar=E7o de 2002. Promovida pelos esfor=E7os conjuntos da
=46unda=E7=E3o Luso-Americana para o Desenvolvimento (FLAD), da Funda=E7=E3o=
Calouste Gulbenkian (FCG) e da Experimental Intermedia Foundation
(EIF), a iniciativa consiste num programa de estudos sob a orienta=E7=E3o
da =FAltima daquelas institui=E7=F5es.
Este programa de forma=E7=E3o compreende um est=E1gio nos Intermedia
Studios da University of Iowa sob a orienta=E7=E3o do director do
departamento de Intermedia, Hans Breder, e ser=E1 completado por um
per=EDodo de investiga=E7=E3o e experimenta=E7=E3o na Wesleyan University, e=
m
Middletown, sob a orienta=E7=E3o de Alvin Lucier e Ron Kuivila, e pela
apresenta=E7=E3o p=FAblica de uma obra com caracter=EDsticas intermedi=E1tic=
as.
Considera-se uma cria=E7=E3o "intermedia" qualquer projecto que de alguma
forma associe imagem, som e movimento, numa perspectiva de pesquisa e
inova=E7=E3o, e tendo como finalidade a apresenta=E7=E3o de um espect=E1culo=
=2E
Os candidatos dever=E3o possuir a nacionalidade portuguesa e ter um bom
conhecimento de l=EDngua inglesa.
As candidaturas dever=E3o ser apresentadas em portugu=EAs e ingl=EAs e inclu=
ir:
1. Documenta=E7=E3o sobre tr=EAs obras realizadas, na forma de
diapositivos, grava=E7=F5es audio ou v=EDdeo.
2. O projecto que o candidato pretende desenvolver em Nova Iorque,
incluindo sinopses de confer=EAncias ou performances que desejaria
realizar nos Estados Unidos.
3. Curriculum detalhado.
O vencedor da BES, na conclus=E3o do programa, dever=E1 apresentar um
relat=F3rio sobre as actividades desenvolvidas durante o est=E1gio.
Compromete-se tamb=E9m, para al=E9m de apresentar o seu projecto em Nova
Iorque, a faz=EA-lo igualmente em Portugal, quando para tal for
solicitado.
A entrega das candidaturas =E0 Bolsa Ernesto de Sousa dever=E1 ser feita
at=E9 =E0s 18 horas do dia 28 de Setembro de 2001, na sede da FLAD, Rua
do Sacramento =E0 Lapa, 21, 1249-090 Lisboa. As candidaturas ser=E3o
apreciadas pelo j=FAri reunido para o efeito, cuja decis=E3o ser=E1
anunciada em Outubro de 2001.
O j=FAri da BES =E9 constitu=EDdo por Phill Niblock (artista "intermedia" e
director da EIF); Manuel Costa Cabral (representante da FCG); Rui
Eduardo Paes (cr=EDtico musical e representante da FLAD); Emanuel Dimas
Pimenta (arquitecto e compositor) e Isabel Soares Alves (produtora
cultural).
Recorde-se que j=E1 foram premiados com a BES Jo=E3o Paulo Feliciano,
Rafael Toral, Manuel Mota, Paulo Raposo, David Maranha, Adriana S=E1,
S=F3nia Rodrigues e Jo=E3o Pinto. Foram ainda atribu=EDdas men=E7=F5es honro=
sas
a Andr=E9 Gomes, Jo=E3o Ant=F3nio Mota, Daniel Blaufuks (por duas vezes),
Nuno Rebelo, Lu=EDsa Cunha, H=E9lder Lu=EDs, Margarida Garcia (por duas
vezes) e Ricardo Jacinto.
De salientar ainda, que alguns destes artistas
participaram recentemente numa tourn=E9e na Alemanha, com performances
individuais, organizada por Jens Brand num esfor=E7o conjunto com a
=46unda=E7=E3o Gulbenkian.
Em anos transactos fizeram parte do j=FAri: Leonel Moura, Ant=F3nio
Cerveira Pinto, Paul Panhuysen, (Holanda), Artur Stidfole (EUA),
Moniek Darge (Gent, B=E9lgica), Barbara Held (Barcelona), Jens Brand
(Alemanha), Keiko Sei (Jap=E3o/Rep=FAblica Checa) e Maria Blondeel
(B=E9lgica).
Ernesto de Sousa (1921-88) =E9 uma das figuras mais controversas da
segunda metade do S=E9c. XX e a sua obra uma das mais fecundas. A sua
forma=E7=E3o, liter=E1ria e art=EDstica, conduziu-o inicialmente =E0
interven=E7=E3o no campo tradicional da cr=EDtica de arte. Ao longo dos
anos 60 e 70, em ruptura com a gera=E7=E3o e as sensibilidades do seu
pr=F3prio tempo de forma=E7=E3o, cultivou a imagem inc=F3moda de uma
personalidade de ilimitados interesses e fronteiras de interven=E7=E3o.
Da cr=EDtica e da historiografia ao cinema, da fotografia =E0 interven=E7=E3=
o
"intermedia", assumiu definitivamente nos anos 70 um destino de
artista, de agitador e de utopista, esp=E9cie de "consci=EAncia cr=EDtica"
da na=E7=E3o cultural, =E0 semelhan=E7a do que fora Almada (que estudou e
admirou) em circunst=E2ncias diversas. A organiza=E7=E3o da "Alternativa
Zero", que em 1977 realizou a s=EDntese ou o levantamento poss=EDvel das
produ=E7=F5es do conceptualismo nacional, consagrou definitivamente esse
seu papel.
T=EAm sido frequentes as refer=EAncias, celebra=E7=F5es e retrospectivas
sobre Ernesto de Sousa. O livro Ser Moderno em Portugal, pela editora
Ass=EDrio & Alvim, cont=E9m um estudo significativo sobre a sua obra. A
=46unda=E7=E3o Calouste Gulbenkian apresentou a exposi=E7=E3o "Revolution My=
Body" retrospectiva de parte da obra deste artista relativa =E0
actividade da d=E9cada de 70, no campo da "intermedia". A exposi=E7=E3o
"Alternativa Zero" foi apresentada em Palermo (It=E1lia) por iniciativa
da Funda=E7=E3o de Serralves, e ir=E1 ser=E1 ser objecto de v=E1rias
iniciativas por ocasi=E3o do 25=BA anivers=E1rio da sua realiza=E7=E3o, em
Mar=E7o 2002.
Considerando que o pioneirismo de Ernesto de Sousa em Portugal est=E1
visivelmente a dar frutos, =E9 desejo da Bolsa Ernesto de Sousa levar
para o S=E9c. XXI e o terceiro mil=E9nio a sua influ=EAncia.
<http://www.asa-art.com/bes.htm>www.asa-art.com/bes.htm
www.terravista.pt/Guincho/7933/Dossierernesto.htm
www.asa-art.com/bes.htm<http://www.asa-art.com/bes/hwwtm>.asa-art.com/bes/hw=
wtm
<http://www.ASA.ART.COM/BES.HTM>wwwWWW.ASA.ART.COM/BES.HTM
------------------------------
Date: Wed, 15 Aug 2001 21:46:04 -0300
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