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Announcer on Mon, 21 Jan 2002 01:18:33 +0100 (CET)

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Table of Contents:

     "r b" <satmundi22 {AT} hotmail.com>                                                  

   competition "Dead or Alive"                                                     
     jurij krpan <jurij.krpan {AT} kapelica.org>                                          

   First issue of online new media Journal out                                     
     Jonathan Lillie <jlillie {AT} metalab.unc.edu>                                       

   2002 Webbys Seeking Net Art Sites                                               
     "Patrick Kowalczyk" <patrick {AT} mkpr.com>                                          

   Fibreculture-reader at transmediale.02                                          
     Andreas Broeckmann <abroeck {AT} transmediale.de>                                    

   Call for Papers                                                                 
     Performance Research <performance-research {AT} dartington.ac.uk>                    

   public competition for sound projects                                           
     =?iso-8859-1?Q?Montse_Roman=ED?= <MRomani {AT} cccb.org>                             

   affective encounters e-book                                                     
     Susanna Paasonen <suspaa {AT} utu.fi>                                                

   eipcp | new issue: pre_public                                                   
     eipcp <contact {AT} eipcp.net>                                                       

   Work: Vote Machine part 1 version 13                                            
     Brian Judy <bjudy {AT} redaphid.com>                                                 


Date: Sun, 13 Jan 2002 03:29:02 +0000
From: "r b" <satmundi22 {AT} hotmail.com>
Subject: satmundi

The body becomes the main instrument of man's interpretation of
reality.The body is a big sagacity, a plurality with one sense, a war and
a peace, a inside and a outside.The body is the full being who does not
suppress or eliminate his passions. He does not accept one part of himself
and condemn other parts, but accepts his nature and the conditions of life
as they are.The body itself is within history in this way: The body is
molded by a great many distinct regimes; it is broken down by the rhythms
of hyper-texted body.SATMUNDI is announcing the new VRML work from Ricardo
Barreto, "body"  http://www.satmundi.com/body/windowbody.html


Date: Sat, 12 Jan 2002 14:47:58 +0100
From: jurij krpan <jurij.krpan {AT} kapelica.org>
Subject: competition "Dead or Alive"

- --------------DA8F6D85B4A62F4093B68BEC
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Content-Transfer-Encoding: 8bit

Break 21
6th International Festival of Emerging Artists

May 19th E 24th, 2002
Ljubljana, Slovenia

K6/4, Kersnikova 6, Ljubljana, Slovenia

BREAK 21 - Statement of Purpose
The festival is dedicated to younger, not yet recognised artists who
modulate their artistic expression within research artistic practice.
The age limit has been abandoned by this yearUs festival to be able to
follow the theme more thoroughly. Besides artistic works, selected
through Call for Applications, selectors have the opportunity to invite
authors, whose known works may add up to the entire exhibition of the
chosen theme. However we will prefer  the latest projects, which are, in

our opinion, important for the discourse, pursued by the festival, in
the selection.

In the year 2002, the festival construction will differ from the last
five editions. We will invite only the artists, who are indispensable
for the presentation or installation of their works, to Ljubljana; the
rest of them will be presented with their works. Holders of the
programmes will take up the roles of selectors since they have already
been connected to permanent activities of the K6/4 board. The festival
will thus obtain the content frame, which can already be detected in the

current activities of the K4 club, which will provide the sound, the
Kapelica gallery, which covers the field of the visual arts and
performances, and the Kiberpipa, which covers the field of cybernetics,
video and film production. We also invited a few associates, who
specialise in the field of cartoons, animated films, short films, web
art, designing, culinary art and fashion to help us in the selection.
Custodians of the festival (we invited them from Zagreb, Croatia, this
year) proposed the theme, which, we believe, opens an extremely
important, stigmatised and taboo field in totalitarianism of the
consumer society. Custodians will make a selection of applicants
together with selectors/advisors, who are experts for specific artistic
fields. Concurrently, uniform criteria of the selection are being
We tend to create the selection and the Break 21 festival upon explicit
artistic projects, texts, and not numerous exhibits to be able to
reflect upon the selected field precisely enough, since the selected
field will be presented in the collection of texts after the festival.
We expect around 60 participants, including artists, researches,
engineers, theoretician and publicists to participate at the festival.
In the postproduction of the festival, a catalogue on CD ROM will be
published. Later on, we will publish a printed collection of texts and
artistic project, presented at the Break 21 festival, and projects,
which influenced the development of the selected theme greatly, for
which we would like to become the reference in the future.

 THEME:  "Dead or Alive"

"Dead or Alive" implicates the urge, which tends to satisfy something at
all costs, taking no regard whether it demands the life to be taken. It is
assumed, that it represents something, for which, imperatively, it is
greater than life or death. In the tendency to give up life as the highest
value, the sacrifice is implicated or some urgent denunciation in the
economy of one's own life, which we could call a particular death, for the
sole purpose to accomplish something. In the title, the initial question
appears. It questions death and life; it demands an answer to the question
about definitions, what is actually dead and what is alive. To what extent
something is dead, though only inert; to what extent something is alive,
though tends to be prolonged with the help of machines; how to understand
organic material in the cryobanks and how biotechnical
mechanisms/organisms? Are the cyber space and avatars with artificial
intelligence, which are present in the Hollywood apparatus of the
imaginary or the top cyber laboratories, our or the parallel world?
Bionics and eugenics establish new paradigms of life and death as much as
nanomechanics and intelligent neuronic nets. Artificial life is the
oxymoron, which penetrates the core of our theme.

Questions, posed to us by high technology, are still utterly legitimate in
traditional sense, since we understand them through the perspective of
modern age. Intermingling of everyday violence, which we encounter in the
streets, car accidents, murders, suicides, diseases, wars and catastrophes
on higher scales are balancing with births, rebirths, changes of identity
and initiations, creations of new life situations and cosmic phenomena.
Religious repertoires and great ideologies are all built upon dichotomy of
life and death. They tend to be valid within the scale of the universal,
while moments of ecstasy during meditation or sex, pain and dreams are
utterly intimate and identical to themselves. Mental deviations, such as
insanity, psychosis, neurosis, obsessions, paranoia and hysteric states
were interpreted as a kind of intermediary state between life and death in
primitive cultures, while in modern societies, the border between the
healthy as an attribute of life and the ill as an attribute of death is
being obliterated.

Life and death are great themes of art and a lot has been said about them,
however, some things can't be talked about too many times. Our intention
is for artists to deal with them innovatively, through the perspective of
new art and research artistic practice, which owns a tactical value that
points more at the poetics of life than poetics, which is already known
from traditional aesthetic paradigms. Forms of expression may not be
products and aesthetic artefacts but rather processes, states, situations
... that comprise the dimension of time - transition.

Theory, visual arts, performative arts, intermedia arts, mobile
pictures, music and sound, architecture, applied arts, culinary arts.

2D exhibitions, installations and ambients, performances, actions,
concerts and sound installations, fashion shows, round tables, lectures
and presentations, projections, food preparation.

Suncica Ostoic, Chief Custodian, sunce {AT} picigin.net
Olga Majcen, Chief Custodian, olga.majcen {AT} inet.hr

Sandra Sajovic, Jurij Krpan, Igor Prassel, Gregor Fras, Iztok Drabik,
Jaka »eleznikar, Zoran Garevski, Sabina Dogic


We will organise a series of lectures and presentations and the texts
will be published in the catalogue. We will also publish essays,
theoretic and critical texts of the selected theme. The emphasis will be

put primarily on the texts, which deal with the complex of life and
death through the perspective of modern and new art. Proposals for
lectures should be texts (in Slovene and English language) and the list
of photos or videotapes matching the lectures. Theoretical texts should
not exceed 32 typed pages (48000 characters E no spaces), and critical
texts should not exceed 16 typed pages (24000 characters E no spaces).

Visual Arts
Proposals for the exhibition of printed material (cartoons, graphic
prints, digital prints), photographs, interactive works, visual
communication (subvertising), computer-assisted art (from web art to
robotics) etc. should be clearly presented (in written form, with
pictures and sound) so that the content and technical demands are well
understood for the presentation (max. one typed page in Slovene and
English). In the presentation material, all dimension and technical
demands (equipment) should be evident (hardware, software, audiovisual
equipment, installation aids/tools etc.).

Performative Art
Performances should be clearly presented, either described in details
(scenes with time) or numbered photo documentation, or a videotape of
the performance. Performances in which the authors take part and where
technical equipment represents the scene have the priority. Besides the
content presentation of the performance the application should also
include the description of technical equipment, in which the part,
prepared by the organisers, should be specified separately.

Intermedia Art
Projects, which comprise various procedures of expression, should
include the background, so that a suitable presentation environment can
be selected, since events will take place at various locations. A typed
page of the presentation is required (in Slovene and English), sketches,

photo and video material. The description of the equipment and special
demands should be included in the text, which the organiser will resolve

at the specific location.

Mobile Picture
Films in all categories will be presented at the festival:
documentaries, fiction, video art, animated films, experimental films,
short films ... According to the content of the film we will select the
appropriate location, so that the films will be presented in suitable
halls; video and animated films will be installed as projections or
installations. Therefore, authors should specify demands and
requirements of presentations. Regardless of the form of media, used to
present the works (formats 70 mm, 35 mm, 16 mm, DVD, Beta), all films
should be sent in VHS format, electronic works on CD ROM, DVD or over
the Internet.

Music and Sound
The field includes concerts, sound installations and intermedia
performances, in which sound holds the priority. The most suitable form
of concert presentations is the video format, and the most suitable form
of installations is the draft or tape on CD, or a precise description of
the sound, which is expected. In any case, the presentation should
include technical demands, specially the part, which has to be prepared
by the organiser.

We do not intend to exhibit sacral architecture and equipment, which was

built or is in the process of building, nor we expect competition
proposals, which will never take place. We are interested in the
projects, which sublimate themes of life and death in the most radical
meanings. Architectural semiology should be oriented towards conceptual
projects and less towards utilitarian realisations. In the competitive
phase, the projects, which represent intermedia, will be favoured,
however, they can be presented in 2D, on CD all over the Internet.
Application should include a typed page of the text (in Slovene and

Applied Art
The selected theme evokes the memory of applicative objects, which have
more or less ritually accompanied humanity through the history. In
highly urban environments, extremely individual life stiles develop and
invent graphic attributes and other symbolic gestures for personal
rituals in the alienated everyday life. Although we recognise the
fashion creativity through fashion machinery of the consumer society, we
decided to underline the part of a designing production, which holds
highly personalised approach and thus point at semiology of dressing,
which wrenches from the vice of mass economy. Proposals should be
photographed and equipped with half a typed page of description and
eventual technical requirements. Photographs or extremely precise
sketches, including comments, should present dresses in the application
for fashion designing.

Culinary Art
The question of life and death is structurally important in culinary
art, thus we think that creativity within the theme gives excellent
opportunities. Cooks, who tend to realise the menus, are offered the
classically equipped kitchen and assistants who will help him/her
prepare 50 meals per term. During the festival, the kitchen will be set
up to provide meals for participants and visitors. We believe that
participants and visitors of the festival are the ideal public for
dishes, which are hard to realise on other occasions.

Organiser will provide for three nights with breakfast, three lunches
and dinners. Travel expenses have to be covered by the participants or
can be subsidised with the help of organisers (applications to embassies

or foundations).

- - the description of the art work (it will be published in the
collection of texts)
- -  audio and visual presentations (VHS, S-VHS, CD ROM, DVD, slides,
photos, sketches, notes)
- -  title, dimensions, time of installation, instructions for use and
installation (space requirements, technical requirements, the form of
interactivity and the roles of participants)
- -  the works which were produced over the last 10 years will be taken
into consideration
- -  computer-assisted projects should include operation system
requirements and software
- -  web art (net/web/internet/online art) E the URL works should be
reported at the web site address: http://www.jaka.org/break
- -  the presentation of dresses (fashion show) should include dresses in
sizes 36/38 for women and 48/50 for men. Each designer can present the
collection in which there are 3 to 5 female dresses or male suits.
Designers can provide shoes (size 39/40 for women and 44/45 for men),
and all extras. Organiser will provide make-up, hairstyle, models and
- -  cartoons can be sent on quality black-and-white copies, format A4;
texts should be in English, the number of pages is not limited
- -  culinary art E call for applications should include the presentation
of two meals (meat and vegetarian). Expenses of ingredients should not
exceed 3 EUR
- -  a short biography of the author and other associates
- -  the name, surname, address, zip code, city, country, telephone, fax,
e-mail, URL
- -  call for applications should be sent by March 1st  2002 to the
following address:

Studentski kulturni center
Break 21
Kersnikova 6

e-mail: break21 {AT} k6-4.org

Telefon: ++ 386 (0)1 438 03 00
Faks:     ++ 386 (0)1 438 02 02

Important notes:
- - we do not return the received material, shipping has to be covered by
the sender
- -  required documents for temporary export/import of exhibits and
objects (ata carnet) have to be taken care by the authors
- -  to avoid import taxes when sending VHS cassettes and CDs, documents
which prove that the material is non-commercial is required. Notify the
organisers for required documents
- -  we will notify you of the selected works by March 15th 2002; the
results will be published at URL:http://www.break21.com
- -  additional information: break21 {AT} k6-4.org


Date: Wed, 16 Jan 2002 11:41:01 -0500 (EST)
From: Jonathan Lillie <jlillie {AT} metalab.unc.edu>
Subject: First issue of online new media Journal out

The first issue (Winter 2002) of NMEDIAC, the Journal of New Media &
Culture is now available at: http://www.ibiblio.org/nmediac/winter2002/
Here is what this exciting first issue has to offer:


Cultural Logic in Cyberspace: Web Art & Postmodernism
- - A partial teaser article by Amy Davila offering a peak of what is to
come in future issues of NMEDIAC

Party Over, Oops, Out of Time': Y2K, Technological 'Risk' and
Informational Millenarianism
- - Kavita Philip & Terry Harpold

Computer mediation and postmodern narrative practices:
computational narratives in Mason&Dixon.
- - Miriam Fernndez Santiago

>From Text Effects to Canned Goods:
Identity Construction and Visual Codes in the Flash Development Community
- - Megan Sapnar

Media Literacy for the Unconscious Mind
- - Brian Walsh


"Superstitious Appliances" & "in an unrelated sequence comes"
- - Jason Nelson

An Introduction to the New Media Art of Jason Nelson
- - NMEDIAC Contributing Editor Jennifer Ley

"Hey Now"
- - Thomas Swiss and Motomichi Nakamura

An Introduction to the New Media Poetry of Thomas Swiss
- - NMEDIAC Assistant Editor Megan Sapnar


Loss Pequeo Glazier. (2002). Digital Poetics: The Making of
E-Poetries. Tuscaloosa: University of Alabama Press.
- - Review by George Hartley

- -----
Jonathan James McCreadie Lillie
- -----
Managing Editor
NMEDIAC, The Journal of New Media & Culture
- -----
Park Doctoral Candidate
The School of Journalism & Mass Communication
The University of North Carolina at Chapel Hill
- -----
Senior Web Programmer
Management Information Systems Group, Inc.
- -----
jlillie {AT} email.unc.edu
- -----


Date: Thu, 17 Jan 2002 16:11:19 -0500
From: "Patrick Kowalczyk" <patrick {AT} mkpr.com>
Subject: 2002 Webbys Seeking Net Art Sites

Thought you might want to pass this on to members of your mailing lists.


For Immediate Release
Contact:  Patrick Kowalczyk, patrick {AT} mkpr.com
Leah Schmerl, leah {AT} mkpr.com
Michael Kaminer Public Relations, 212/627.8098


San Francisco, January 16, 2002 - Net artists have until January 31, 2002
to get enter their sites into the running for The Sixth Annual Webby
Awards, The International Academy of Digital Arts & Sciences announced
Hailed by The Wall Street Journal as a celebration of "sites that pave
important paths to the Internet's next phase," The Webby Awards is the
leading international honors for Web sites and individual achievement in
creativity and technology. The awards are presented by the Academy, a
diverse, 350-person organization whose membership includes Esther Dyson,
Susan Sarandon, David Bowie, and Larry Ellison.
Young-Hae Chang Industries www.yhchang.com was named Best Arts Site of the
Year at The Fifth Annual Webby Awards. Winners of The 6th Annual Webby
Awards will be announced in May 2002.
With the Web recently marking its tenth anniversary, Maya Draisin, the
executive director of the Academy, said that more attention than ever will
be focused on this year's nominees and winners - and the clues they
provide about the future of the Internet.
"The first ten years of the Web were all about building an infrastructure,
experimentation, and introducing people to a new medium," said Draisin.
"As the Web moves into its second decade, the Academy remains committed to
celebrating the sites and individuals that are setting standards and
pushing boundaries."
For the first time, The Webbys will accept entries for the Best Practices
Award, which recognizes a single site that serves as a model of excellence
in each of the Webby judging criteria: content, structure and navigation,
visual design, functionality, interactivity, and overall experience. The
Best Practices Award debuted at The 5th Annual Webby Awards and was
awarded to Google.com.
The Sixth Annual Webby Awards is seeking submissions in thirty categories:
Activism, Best Practices, Broadband, Commerce, Community, Education,
Fashion, Film, Finance, Games, Government & Law, Health, Humor, Kids,
Living, Music, NetArt, News, Personal Web Site, Politics, Print & Zines,
Radio, Science, Services, Spirituality, Sports, Technical Achievement,
Travel, TV, and Weird.
"Now in our sixth year, The Webby Awards continue to honor not only the
popular sites that set the benchmarks for the industry, but also the
smaller Web sites that are doing important work," said Tiffany Shlain,
director and founder of The Webby Awards. "We're looking forward to
finding another extraordinary mix of sites in 2002."
To submit a Web site for consideration, visit The Webby Awards Web site at
http://www.webbyawards.com, where you will find submission rules and an
official online entry form. Deadline for entries is January 31st, 2002.
About The Webby Awards The Webby Awards is the leading international honor
for Web sites and individual achievement in technology and creativity. The
International Academy of Digital Arts and Sciences selects the nominees,
winners, and presents the awards event. For more information visit
About the International Academy of Digital Arts and Sciences 
The International Academy of Digital Arts and Sciences is dedicated to the creative, technical, and professional progress of the Internet and evolving forms of interactive media. The Academy's goal is to assemble a brilliant panel of leading new media experts, visionaries, journalists, and luminaries to propel the Internet and Interactive Technology into the future. The Academy is an intellectually diverse organization that includes over 350 members such as film director Francis Ford Coppola, musician Bjork, Chairman of Talk Media Tina Brown, cyberguru Esther Dyson, creator of "The Simpsons" Matt Groening, Public Radio International Personality Ira Glass, and Oracle Chairman Larry Ellison. Members also include writers and editors from publications such as The New York Times, Wired, Forbes, Details, Fast Company, Elle, The Los Angeles Times, Vibe, and WallPaper. For more information, visit <http://www.iadas.net./>
# # #


Patrick Kowalczyk | Michael Kaminer PR | www.mkpr.com
1123 Broadway, Suite 805
New York, NY 10010 | 212.627.8098


Date: Sun, 20 Jan 2002 16:07:24 +0200
From: Andreas Broeckmann <abroeck {AT} transmediale.de>
Subject: Fibreculture-reader at transmediale.02

we will have copies of the new Australian Fibreculture-reader for sale at
transmediale.02 in Berlin next month - price EUR 20.
- -a



Hugh Brown, Geert Lovink, Helen Merrick, Ned Rossiter, David Teh,
Michele Willson (eds), Politics of a Digitial Present: An Inventory
of Australian Net Culture, Criticism and Theory (Melbourne:
Fibreculture Publications, 2001).

Paperback 155 x 230mm 300pp

ISBN 0-9579978-0-9

$30AUD (includes GST) plus postage and handling ($3.75 in
Australia/$11.50 for USA & Canada/$13 for UK & Europe) - payable by
cheque or money order made out to Fibreculture.




admin {AT} fibreculture.org (for list administration and book ordering)


Established in January 2001, fibreculture is a forum for Australian
net culture and research, encouraging critical and speculative
interventions in the debates concerning information technology, the
policy that concerns it, the new media for(u)ms it supports and its
sustainable deployment towards a more equitable Australia.
Fibreculture is committed to fostering and promoting open,
independent, critical, participatory and sustainable forums.

The fibreculture network comprises theorists, critics, journalists,
academics, artists, activists, policy developers and all sorts of
media producers, designers and other information-workers.
Fibreculture is working towards productive dialogues around our
distinctive engagements with/in new media & internet theory and
practice.  The inaugural fibreculture reader is an encounter with
some of these dialogues in process: offering not conclusions or
closures but rather an invitation to further reflection, debate, and


Date: Fri, 18 Jan 2002 14:16:38 +0000
From: Performance Research <performance-research {AT} dartington.ac.uk>
Subject: Call for Papers

Performance Research
Vol.7 No.4 (Winter 2002)

'On Archives and Archiving'

Call for Contributions

'On Archives and Archiving' will be Volume 7, Issue 4 of 'Performance
and will be jointly edited by Richard Gough with guest editor Heike Roms.

Deadlines are as follows:

Proposals: February 28th 2002
Finalised Copy:  May 15th 2002
Publication Date: December 2002

'On Archives and Archiving' will be the fourth issue of a volume on
'Textualities: scores, documents and archives' (PR, Vol.7, Nos 1-4, 2002)
which considers the changing nature of performance texts and relations
between writing, textuality and performance in four related issues: On
Editing, Translations, On Fluxus and On Archives.

Performance is widely regarded as that which cannot be archived - its
presentness at odds with the archive's quest for permanence, its disappearing
acts resisting the desire to label, stack and store. Yet at the same time as
performance has asserted its radical ephemerality the demand for documenting
and archiving its practices on behalf of performance research and
historiography has grown. What then is performance's relationship with the

The editors invite contributions that explore this relationship in all its
facets, including the role of performance in the culture of the archive and
the role of the archive in conceptualisations of performance; the cultural
histories and ideologies of archival practices; the future of performance and
the archive in the digital age; performance as an archive of its own history;
performative interventions into archival culture; the role of forgeries,
rumours and lies in the development of performance history; the role of the
document in performance research; the practices of performance archives; and
performers' archives.

Possible topics (in alphabetical order):

access - accumulation - arrangement - assemblage - association - authenticity
- - autobiography - body - book - bone - box - capacity - catalogue - category
- - classification - collage - collection - conservation - copy - counterfeit -
cyberspace - data - decay - depository - destruction - diary - digital -
disappearance - document - drawer - dust - ephemerality - error - eternity -
evidence - facsimile - fake - file - flesh - forgetting - fragment - future -
goneness - hide - history - image - information - installation - internet -
inventory - journal - knowledge - label - letter - library - lies - list -
loss - memory - name - network - omission - orality - order - original -
palimpsest - paradox - past - preservation - private - public - quotation -
recycling - reconstruction - remains - restoration - rubbish - ruin - rumour
- - safety - saving - searching - secret - storage - sound - system - time -
trace - uncover - virtual - witness - wunderkammer - xyz

'On Archive and Archiving' will continue the discussion on archiving and
performance begun in earlier issues of Performance Research ('On Memory' and
'On Maps and Mapping'). Responses to previous contributions on the theme are
especially welcome.

Performance Research is interested in proposals for visual and textual work
that makes use of the resources of the page, and in work that may use several
versions of a text. We are interested in scores and other performance
documents, interviews, discussions, proposals for review essays of
performance, digital, time-based work and books, and in collaborations
between artists and critics.

This issue will be edited by Richard Gough, General Editor of Performance
Research, and Heike Roms, Consultant Editor of Performance Research.

We actively welcome submissions on any area of performance research, practice
and scholarship. Proposals and articles will be accepted on hard copy, disk
or by e-mail attachment (MS Word). Please DO NOT send images by email
attachment without prior agreement.

Proposals, submissions and enquiries should be sent direct to:

Linden Elmhirst - Administrative Assistant
Performance Research
Dartington College of Arts
Devon TQ9 7RD UK
tel. 0044 1803 862095
fax. 0044 1803 866053
email: <performance-research {AT} dartington.ac.uk>

Submission of an article to the journal will be taken to imply that it
presents original, unpublished work not under consideration for publication
elsewhere. By submitting a manuscript, the authors agree that the exclusive
rights to reproduce and distribute the article have been given to the

- -- 
- -


Date: Tue, 15 Jan 2002 14:38:51 +0100
From: =?iso-8859-1?Q?Montse_Roman=ED?= <MRomani {AT} cccb.org>
Subject: public competition for sound projects

- --------------------------------------------------------------------------
- --------------------------------------------------------------------------
- --------------------------------------------------------------------------
- ----------------------------
DEADLINE: March 11, 2002
Contemporary Culture Centre of Barcelona-CCCB
- --------------------------------------------------------------------------
- --------------------------------------------------------------------------
- --------------------------------------------------------------------------
- ----------------------------

PERIODIC is a public competition for projects based on the most
experimental music, in relation to the theme of TYRANNY. It is a musical
activity organised to coincide with the exhibition TIRAN(i)A which is to
be presented at the CCCB (Contemporary Culture Centre of Barcelona) from
24 January to 28 April 2002.

To enter the competition, participants should present a project for a
basically musical activity which takes as its central theme TYRANNY, with
everything that this concept suggests to the artist.

The two winners will each give a concert/action on 19 and 20 April 2002 in
the auditorium of the CCCB. They will also each receive a cash prize of
1,500 Euros, which will include all expenses (composition, performance,

The project, including a detailed explanation of the activity, must reach
the CCCB by 11 March. It may be presented in traditional format or on
computerised support for Windows 2000. The jury will particularly value
the incorporation of elements which are extraneous or related to music
(video, dance, performance, visual arts, literature, etc...).

The space will be equipped with all the infrastructure needed to organise
a concert with the possibility of simultaneous projection and the
necessary backline. 

The complete conditions are available for consultation at the CCCB or on
the web site: http://www.cccb.org

Montalegre, 5. 08001 Barcelona, Spain
Tel. + fax. +34 933 064 100
contact: info {AT} cccb.org
URL: http://www.cccb.org


Date: Wed, 16 Jan 2002 14:46:42 +0200
From: Susanna Paasonen <suspaa {AT} utu.fi>
Subject: affective encounters e-book

*** sorry for cross-posting ***

Announcement of a new e-book:

Anu Koivunen and Susanna Paasonen (editors)

University of Turku, School of Art, Literature and Music Series A, N:o 49
ISBN 951-29-2237-1
296 pp.
E-book at http://www.utu.fi/hum/mediatutkimus/affective/proceedings.pdf
(& http://www.utu.fi/hum/mediatutkimus/affective/proceedings.html)
Media Studies, Turku 2001

Last September, University of Turku (Finland) hosted an international 
conference on the broad issues of affectivity and embodiment. Now in all 34
workshop presentations from this conference have been published as an 
e-book on line. Exploring how affects are constructed, experiences
signified and embodiment articulated, it features readings of film, 
television, new media, advertisements and print journalism, as well as
arts, architecture and music. Approaches range from philosophical and 
aesthetic to historical and sociological.

The e-book, as well as individual contributions (listed and linked at 
http://www.utu.fi/hum/mediatutkimus/affective/proceedings.html) can be 
downloaded at no cost. However, you will need an Adobe Acrobat Reader 
(preferrably version 5) which is available (at no cost) at


Anu Koivunen
Preface: The Affective Turn?

Sara Ahmed
Communities that Feel: Intensity, Difference and Attachment

Ana Paula Baltazar
Architecture as Interface: Forming and Informing Spaces and Subjects

Jennifer Lyon Bell
Character and Cognition in Modern Pornography

Rosemary Betterton
Spaces of Memory: Photographic Practices of Home and Exile

Joanna Bouldin
The Body, Animation and The Real: Race, Reality and the Rotoscope in Betty 

Hannu Eerikäinen
Love Your Prosthesis Like Yourself: 'Sex', Text and the Body in Cyber Discourse

Taru Elfving
The Girl in Space-time: Encounters with and within Eija-Liisa Ahtila's 
Video Installations

Amy Herzog
Affectivity, Becoming, and the Cinematic Event: Gilles Deleuze and the 
Futures of Feminist Film Theory

Katarina Jungar and Elina Oinas
Inventing "African Solutions": HIV Prevention and Medical Media

Sanna Karkulehto
Effects and Affects in Queer as Folk

Martta Kaukonen
"I Must Reveal a Shocking Secret": Transvestites in American Talk Shows

Jane Kilby
Tracking Shock: Some Thoughts on TV, Trauma, Testimony

Emmy Kurjenpuu
Women's Magazines Meet Feminist Philosophy

Minna Lahti
"I Thought I Would Become a Millionaire" - Desire and Disillusionment in 
Silicon Valley, California

Mari-Elina Laukkanen
Ladies for Sale: The Finnish Press as Profiteer

Ilmari Leppihalme
Do Muscles Have a Gender? A Female Subject Building her Body in the Film 
Pumping Iron II: the Women

Justine Lloyd and Lesley Johnson
The Three Faces of Eve: The Post-War Houswife, Melodrama and Home

Tapio Mäkelä
Re-reading Digitality through Scientific Discourses of Cybernetics: 
Fantasies of Disembodied Users and Embodied Computers

Norie Neumark
E/motional Machines: Esprit de Corps

Kaarina Nikunen
Dangerous Emotions? Finnish Television Fans and Sensibilities of Fandom

Sanna Ojajärvi
Visual Acts: Choreography of Touches, Glances and Movements Between Hosts 
and Assistants on Television

Susanna Paasonen
Best Wives are Artefacts? Popular Cybernetics and Robot Women in the 1970s

Megan D. Pincus
Must They Be Famous Vaginas? The Effect and Affect of Celebrity on the 
Vagina Monologues and V-day 2001

Liina Puustinen
Gender for Sale: Advertising Design as Technologies of Gender

Christine Ross
Depression and Video Art at the Turn of the Millenium: The Work of Diana Thater

Leena-Maija Rossi
Why Do I Love and Hate the Sugarfolks in Syruptown? Studying the Visual 
Production of Heteronormativity in Television Commercials

Janne Rovio
The Vintage Van Damme Look

Moira Sullivan
Lesbographic Pornography

Rebecca Sullivan
Biotechnological Embodiment: Gender and Scientific Anxiety in Horror Films

Heidi Tikka
Missing the Point - Situated User Experience and the Materiality of Interaction

Julie Turnock
A Catalysm of Carnage, Nausea, and Death: Saving Private Ryan and Bodily 

Pasi Väliaho
An Audiovisual Brain: Towards a Digital Image of Thought in Jean-Luc 
Godard's Histoire(s) du cinéma

Hans Wessels
The Positioning of Lou Reed from a Profeminist Perspective

Jennifer Willet
Imagining the Self


Date: Wed, 16 Jan 2002 15:22:31 +0100
From: eipcp <contact {AT} eipcp.net>
Subject: eipcp | new issue: pre_public

  The new issue of the eipcp's electronic journal is now online: 
pre_public | http://www.eipcp.net

pre_public assembles selected texts on contemporary practices of 
participatory public art. The contributions by Oliver Marchart, Gregory 
Sholette, Ulf Wuggenig / Larissa Buchholz, Rahel Puffert, Eva Sturm, 
Andrea Fraser, Pascale Jeannée, Helmut Draxler, Gerald Raunig, and John 
Malpede are particularly concerned with interventionist and activist 
projects which, in the last decade, have formed new intersecting zones 
of the political and the cultural field.

The title pre_public refers to the fact that participatory artistic 
projects aim at creating the preconditions for new public spheres. At 
the same time it announces the upcoming project of the eipcp:
RE | PUBLIC | ART intends to foster the field of participatory public 
art and its actors by means of specifically targeted measures within the 
fields of art, theory production and cultural politics.

- ---
European Institute for Progressive Cultural Policies
Europäisches Institut für progressive Kulturpolitik
Andrea Hummer, Therese Kaufmann, Raimund Minichbauer, Gerald Raunig
contact {AT} eipcp.net


Date: Thu, 17 Jan 2002 16:22:36 -0500
From: Brian Judy <bjudy {AT} redaphid.com>
Subject: Work: Vote Machine part 1 version 13

Election fraud research was never more fun!

To participate roll over and click on interesting items in the interactive
game field.


Requires Flash 5.

Brian Judy


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