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Table of Contents:
blasttheory prague
"milos" <milos.vojtechovsky@fcca.cz>
last call - Dead or Alive
jurij.krpan@kapelica.org
///plug and play 200002// ...
"pnp" <pnp@gabba.net>
28 / 02 / 2002
"kanonmedia.com" <office@kanonmedia.com>
soundtoys call
soundtoys <info@soundtoys.net>
*Info-night* International Browserday Amsterdam
mieke gerritzen <mieke@nl-design.net>
salloum video screening in nyc
JSalloum@aol.com
Tune into Hybrid Discourse
Anya Lewin <a.lewin@dartington.ac.uk>
exh. control panels. programming as an artistic practice, dortmund
Andreas Broeckmann <abroeck@transmediale.de>
[IBUC Friends] Geodesic Capital 2002: Call for Participants
"R. A. Hettinga" <rah@ibuc.com>
[BAM New Media] New Essays from the Online Exhibit Under_score
Wayne Ashley <washley007@yahoo.com>
------------------------------
Date: Sun, 17 Feb 2002 14:52:52 +0100
From: "milos" <milos.vojtechovsky@fcca.cz>
Subject: blasttheory prague
The British Council, Center for Contemporary Arts in Prague
and mamapapa o.p.s.
invite you to installation Desert Rain by www.blastheory.co.uk
and a seminar
Training machines, games and reality
in the British Council Prague
(Národní 10, Praha 1, entry from Vorsilska)
on Friday 22 February 2002 at 1400
Subjects: New areas of performing art in the age of electronic media;
psychology and phenomenology of computer games; reality simulation; examples
and experience with co-operation among artists, technicians and scientists;
computers and special effects enjoyment.
Speakers: Matt Adams and Catherine Williams-Blast Theory members (UK),
Scott deLahunta, electronic media and performance specialist and Desert Rain
production co-worker (UK),
Saul Albert, media artist and activist (UK),
Lubor Benda - programme developer (CZ),
Stanislav Ulver - film theoretician (CZ),
Petr Szczepanik - media theoretician (CZ),
L P Fish - media specialist (CZ)
and other media artists and theoreticians
moderated by Miloą Vojtěchovský
The seminar is a complementary event to Blast Theory performances of Desert
Rain, taking place in Česká typografia, Na Florenci 19, Praha 1, from 23
February to 1 March 2002. For more information please contact
Milada.Novakova@britishcouncil.cz, booking: nikolcz@hotmail.com
www.mamapapa.cz
www.blasttheory.co.uk
www.fcca.cz
Scott deLahunta
http://huizen.dds.nl/~sdela/conv3
http://www.daimi.au.dk/~sdela/dte
Saul Alberts
www.twenteenthcentury.com/dicshunary
www.consume.net
www.dorkbot.org/dorkbotlondon
- ---
Odchozí zpráva neobsahuje viry.
Zkontrolováno antivirovým systémem AVG (http://www.grisoft.cz).
Verze: 6.0.320 / Virová báze: 179 - datum vydání: 31.1.2002
------------------------------
Date: Tue, 19 Feb 2002 11:59:09 +0100
From: jurij.krpan@kapelica.org
Subject: last call - Dead or Alive
Dear colleagues,
this is the last call for applications which should be sent by March 1st 2002.
Key words: Death, Life, Body, Poison, Oxymoron , Fatal Sex, Biotechnology,
Artificial Life, ...
CALL FOR ENTRIES - BREAK 21/2002
Break 21
6th International Festival of Young Emerging Artists
May 19th – 24th, 2002
Ljubljana, Slovenia
Integral description of the festival: http://www.break21.com
Organiser
K6/4, Kersnikova 6, Ljubljana, Slovenia
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.
FIELDS
- - THEORY: 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 contemporary and new art.
- - VISUAL ARTS: computer-assisted art (from web art to robotics), comics,
graphic prints, digital prints, photographs, interactive works, visual
communication (subvertising), etc.
- - PERFORMATIVE ARTS
- - INTERMEDIA ARTS
- - MOBILE PICTURES: films in all categories will be presented at the festival:
documentaries, fiction, video art, animated films, experimental films, short
films ...
- - MUSIC and SOUND: concerts, sound installations and intermedia performances,
in which sound holds the priority.
- - ARCHITECTURE: 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.
- - APPLIED ARTS: 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.
- - CULINARY ARTS
DEADLINE
Call for applications should be sent by March 1st 2002 to the following address:
Študentski kulturni center
Break 21
Kersnikova 6
SI - 1000 LJUBLJANA
e-mail: break21@k6-4.org
phone: ++ 386 (0)1 438 03 00
fax: ++ 386 (0)1 438 02 02
Thank you!
Andreja Kralj
Coordinator of the Festival
------------------------------
Date: Tue, 19 Feb 2002 13:03:09 -0000
From: "pnp" <pnp@gabba.net>
Subject: ///plug and play 200002// ...
///////////////////////PLUG/
//////////////////////AND//
/////////////////////PLAY/
http://www.gabba.net/pnp/
////////////////////////
///////////////////////
//////////////////////
/////////////////////
////////////////////
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//////////////////
/////////////////
////////////////
///////////////
- --------------
- -Sunday 24th/
- -February/
- -2000002/
- -@PublicLife/
- -E1.London/
- -6PM till later/
- --------------
- --------------
OPEN_SOURCE event =
bring data/
bring laptop/tech/
- --------------
////////////PLUG
///////////it in
//////////PLAY
- --------------
http://www.gabba.net/pnp/
info/upload.data/FTP/
http://www.gabba.net/bluescreen/
feedback/upload.data/
mailto:kilroy@gabba.net
infos/abuse/
http://publiclife.org/
venue/
- --------------
less is... more/
///////////ENDS
------------------------------
Date: Tue, 19 Feb 2002 14:07:06 +0100
From: "kanonmedia.com" <office@kanonmedia.com>
Subject: 28 / 02 / 2002
NEW MEDIA LINE exhibition project going online on 28 / 02 / 2002
annie abrahams, au-lab, brad brace, sarawut chutiwongpeti, agricola de
cologne, computer fine arts, octavia davis, eric deis, rick doble, eunji
cho, fakeshop/(jeff gompertz), yevgeniy fiks, valery grancher, genco gulan,
franklin joyce, fransje jepkes, judson, gudrun kemsa, kessica loseby,
michael mandiberg, bill marsh, melinda rackham, alan sondheim, stanza,
reiner strasser, webbittown
all projects on www.kanonmedia.com soon
ENJOY & HAVE FUN
- ---------------------------------------------------------------
kanonmedia.com
non-profit org for new media
amadeus house
99_48, mariahilfer st.
a-1060 vienna
call: ++43-1-595 47 40
mailto: office@kanonmedia.com
visit: www.kanonmedia.com
- ---------------------------------------------------------------
please receive our apologies for cross mailing / in case you prefer not
receiving our newsletter any more just click on reply and say stop mail
------------------------------
Date: Thu, 21 Feb 2002 09:32:09 +0000
From: soundtoys <info@soundtoys.net>
Subject: soundtoys call
- --============_-1197838564==_ma============
Content-Type: text/plain; charset="us-ascii" ; format="flowed"
SOUNDTOYS.
Soundtoys is curating an exhibition of sonic art and soundtoys at the
ICA in london, as part of Cybersonica in June 2002. We are also
presenting works at Zeppelin in Barcelona in early march, and Den
Hague film festival. We are looking for contributions of audio
visual interactive works, net art, web design, application
software, multimedia, generative music, interactive environments,
essays. Works may take the form of art, games, generative music,
interactive environments, shockwave movies, flash etc. They could
be described as "new audio visual experiences", or multimedia
experiments which explore the parameters of our new media world.
(1) FOR THE ONLINE EXHIBITION - audio visual work by artists using
the internet as a medium. We are interested in the use of all
internet friendly programming technologies eg shockwave, flash, vrml,
java etc.send in via email..
(2) FOR THE FESTIVALS
Soundtoys are being asked to present the works offline at
festivals. If you want to take part send in audio visual works
and interactive art pieces. These must be finished projects. Send
work and information in by cdrom via post.
If you work in this area we would like to hear from you.
Zip up your work and send some info about it. Don't forget to include
relevant details.ie your name, project title, year created, brief
bio, info about the work, and also send the work. If you files are
too big but you would like it presented at festival send in
a cd rom version.
Application form online.
SOUNDTOYS.NET
web and info... .... http://www.soundtoys.net
email .......... ..... info@soundtoys.net
- --============_-1197838564==_ma============
Content-Type: text/enriched; charset="us-ascii"
<fontfamily><param>Arial</param><bigger>SOUNDTOYS.
Soundtoys is curating an exhibition of sonic art and soundtoys at the
ICA in london, as part of Cybersonica in June 2002. We are also
presenting works at Zeppelin in Barcelona in early march, and Den
Hague film festival. We are looking for contributions of audio visual
interactive works, net art, web design, application software,
multimedia, <color><param>0080,0080,0080</param> generative music,
interactive environments,</color><color><param>1E9E,2147,1FE7</param>
essays. Works may take the form of art, games, generative music,
interactive environments, shockwave movies, flash etc. They could be
described as "new audio visual experiences", or multimedia experiments
which explore the parameters of our new media world.
</color><color><param>0080,0080,0080</param>(1) FOR THE ONLINE
EXHIBITION - audio visual work by artists using the internet as a
medium. We are interested in the use of all internet friendly
programming technologies eg shockwave, flash, vrml, java etc.send in
via email..
(2) FOR THE FESTIVALS
Soundtoys are being asked to present the works offline at
festivals. If you want to take part send in audio visual works and
interactive art pieces. These must be finished projects. Send work and
information in by cdrom via post.
</color><color><param>1E9E,2147,1FE7</param>If you work in this
area we would like to hear from you.
Zip up your work and send some info about it. Don't forget to include
relevant details.ie your name, project title, year created, brief bio,
info about the work, and also send the work. If you files are too
big but you would like it presented at festival send in a cd
rom version.
Application form online.
SOUNDTOYS.NET
web and info... .... http://www.soundtoys.net
email .......... ..... info@soundtoys.net
</color></bigger></fontfamily>
- --============_-1197838564==_ma============--
------------------------------
Date: Fri, 22 Feb 2002 22:12:02 +0100
From: mieke gerritzen <mieke@nl-design.net>
Subject: *Info-night* International Browserday Amsterdam
Information meeting March 5 @ De Balie / Kleine Gartmanplantsoen Amsterdam
6th International Browserday - WIRELESS
www.browserday.com
We would like to invite you to the information evening about the 6th
International Browserday. Students, young designers, teachers and others are
welcome to ask questions how to become a presenter and show your concept on
stage at May 17 in Paradiso.
March 5 - start 8 pm - free entrance
Program:
Introduction - Mieke Gerritzen (NL.Design)/Eric Kluitenberg (De Balie)
Disappearing computers - Rob van Kranenburg (UVA/De Balie)
Browserpresentations of nominies Berlin Browserday:
filter chip - Tara Karpinsky (USA) / Sandberg Institute
friend - Dirk Oosterbosch (NL) / Rietveld Academy
Special Presentation: cross-media interaction
Paul van Ravenstein en Maarten Borst (Mattmo)
------------------------------
Date: Sat, 16 Feb 2002 03:18:56 EST
From: JSalloum@aol.com
Subject: salloum video screening in nyc
(apologies for cross posting)
New York premiere of Jayce Salloum's
"everything and nothing", 42 min., 2001
opening the Arab & Iranian Film Festival,
6:00, Feb 22nd at the Cantor Film Center @ NYU,
36 East 8th St. at Univ. Pl., New York City
Subway: N, R to 8th St, 6 to Astor Place
contact:
nyc@alwan.org
(212)691-4267
- --
videotape description:
"untitled part 1: everything and nothing"
Jayce Salloum, 42:00, France/Canada, 2001
An intimate dialogue weaving back and forth between
representations of a figure (of resistance) and subject,
with Soha Bechara, ex-Lebanese National Resistance fighter
in her Paris dorm room after release from captivity in El-Khiam
torture and interrogation centre (S. Lebanon) where she had
been detained for 10 years, 6 years in isolation.
- --
"everything and nothing" has been screened at; MoneyNations2, Kunsthalle
Exnergasse, Vienna; Ayam Bayrout al Cinemaiya, Beirut; Santa Monica Museum of
Art; Arab Screen Independent Film Festival, Doha, Qatar; Artists Television
Access/Arab Film Festival, San Francisco; Argos Film & Video Festival,
Brussels; The World Wide Video Festival, Amsterdam; The Museum of
Civilization, Hull, Québec; Biennale de l’image en Mouvement (Biennial of
Moving Images), Geneva; and upcoming at YYZ, Toronto.
------------------------------
Date: Mon, 18 Feb 2002 13:29:02 +0000
From: Anya Lewin <a.lewin@dartington.ac.uk>
Subject: Tune into Hybrid Discourse
> This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.
- --MS_Mac_OE_3096883742_104401_MIME_Part
Content-type: text/plain; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable
If you are in the Plymouth UK area please come to the next Hybrid Discourse
event and if not tune into the webcast at 6 pm British time on February
25th.
www.i-dat.org/projects/hybrid
Creative Practices
=A0=A0=A0=A0February 25th / 6-8pm
=A0=A0=A0=A0Kate rich (BIT), Australia/UK
=A0=A0=A0=A0Neil Cummings & Marysia Lewandowska, UK
=A0=A0=A0=A0Chair: Geoff Cox, i-DAT
All lectures are archived on the site
Hybrid Discourse is a series of events investigating current cultural
debates in the context of digital media.
Hybrid Discourse is organised by Joasia Krysa and Anya Lewin.
Curatorial Practices and Institutional Practices sessions are organised in
collaboration with Geoff Cox, Lina Dzuverovic=ADRussell and Tina Sotiriadi as
a part of Instituting Data Exposition hosted by the Institute of Digital Ar=
t
and Technology.
With support from the Institute of Digital Art and Technology, Dartington
College of Arts, and Creativity at Work, Mute, and the European Social Fund=
.
- --MS_Mac_OE_3096883742_104401_MIME_Part
Content-type: text/html; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable
------------------------------
Date: Thu, 21 Feb 2002 09:44:29 +0200
From: Andreas Broeckmann <abroeck@transmediale.de>
Subject: exh. control panels. programming as an artistic practice, dortmund
Exhibition
Kontrollfelder. Programmieren als kuenstlerische Praxis
control panels. programming as an artistic practice
Hartware, Dortmund/D, 5 April to 5 May 2002
Artists:
Scott Draves (USA)
I/O/D, Simon Pope, Colin Green, Matthew Fuller (Great Britain)
Thomas Kamphusmann (Germany)
LAN -Local Area Network (Switzerland)
Joan Leandre (Spain)
Radical Software Group (USA)
Simon Schiessl (Germany)
Antoine Schmitt (France)
Peter M. Traub (USA)
Adrian Ward (Great Britain)
hartware medien kunst verein, Dortmund, Germany
Tues - Fri: 4 - 10 p.m.; Sat, Sun and public holidays: 1 - 10 p.m.
Opening: 5 April 2002, 19.00 hrs
A project in cooperation with transmediale Berlin und
art.net.dortmund.de
Curators: Andreas Broeckmann and Matthias Weiss
"Kontrollfelder - Programmieren als kuenstlerische Praxis," presented by
hartware medien kunst verein, is the first German exhibition of
international software art.
"Kontrollfelder" was developed in cooperation with transmediale -
international media art
festival berlin, and comprises ten current software art productions. The
exhibition will be displayed at hartware medien kunst verein as well as in
parts on the net art platform "art.net.dortmund.de," which went online in
2001. The exhibition is curated by Andreas Broeckmann (director of
transmediale) and Matthias Weiss (hartware).
Software artists develop computer programs that exceed the boundaries
and possibilities of conventional software or reduce their functions to
absurdity. The focus is not on the perfect and optimal function of the
programs, but rather on the programs' "dis.functionality" and momentum,
which is presented as a playful experience. However, the artists do not
see the software as a tool, but rather view the code as fundamental
aesthetic material for their artistic creations.
While most PC users accept the possibilities and above all the limitations
of commercial software as a given, software artists demonstrate all the
active and creative possibilities by developing their own independent
programs. "Do it yourself!," the motto of the 2001 transmediale, is the
slogan with which artists defy the software monopolies.
The exhibition "Kontrollfelder. Programmieren als kuenstlerische Praxis"
presents software art whose individuality and resistance the visitors
can put to the test.
Matthias Weiss
- --
++++++++++++++++++++++++++++
hartware medien kunst verein
Matthias Weiss
Guentherstrasse 65
D-44143 Dortmund
++49(0)231-88 20 240
mw@art.net.dortmund.de
------------------------------
Date: Fri, 22 Feb 2002 11:58:18 -0500
From: "R. A. Hettinga" <rah@ibuc.com>
Subject: [IBUC Friends] Geodesic Capital 2002: Call for Participants
- --- begin forwarded text
Status: U
Date: Wed, 20 Feb 2002 15:17:58 -0500
To: Digital Bearer Settlement List <dbs@philodox.com>, dcsb@ai.mit.edu
From: "R. A. Hettinga" <rah@shipwright.com>
Subject: Geodesic Capital 2002: Call for Participants
Sender: <dbs@philodox.com>
List-Subscribe: <mailto:dbs-on@philodox.com>
- -----BEGIN PGP SIGNED MESSAGE-----
We've been talking about this event for months (if not years, now),
and have asked you to save the dates, rescheduled it, well, twice.
But, finally, here's what you've been saving the date for...
CALL FOR PARTICIPANTS
THE FIRST IBUC SYMPOSIUM ON GEODESIC CAPITAL:
"GC02 -- Internet Bearer Finance in a Transparent World"
April 3-4, 2002
The Downtown Harvard Club of Boston
Boston, Massachusetts, USA
AN INVITATION
The Internet Bearer Underwriting Corporation invites its friends in
finance, cryptography, and in internet security, infrastructure, and
commerce to Boston for an informal two-day symposium to discuss
bearer finance on a ubiquitous geodesic .
WHAT IS GEODESIC CAPITAL?
"A Fine Kettle of Fish."
Ever since the bottom fell out of the internet finance and digital
goods markets in the Spring of 2000, and especially since the
terrorist events of the Fall of 2001, there has been a considerable
amount of discussion on the net and in the press about the economic
efficacy, if not the actual political wisdom, of using specific kinds
of putatively anonymous financial cryptography protocols to
instantaneously execute, clear, and settle financial and commercial
transactions on the internet.
And yet, the need for these transactions is greater than ever before:
-- THE MARKET FOR DIGITAL GOODS AND SERVICES, which require
instantaneous cheap peer-to-peer transactions to survive as
stand-alone businesses, has been left in limbo, if not in absolute
disarray. There are increasingly ruinous fights over digital property
rights, which leave the producers and even distributors of internet
content in the position of not producing or distributing content at
all in a medium where content distribution is orders of magnitude
cheaper than in any other.
-- In spite of commercial assurances to the contrary, THE VERY RIGHT
TO DECRYPT OR REVERSE ENGINEER ENCRYPTION OR SECURITY METHODS IS NOW
VERY MUCH IN DOUBT, with restraining orders and subpoenas flying like
chaff, and the odd theatrical arrest of conference participants for
publishing any software which does even the simplest crypt analysis
of an ostensibly trade-secret protocol.
-- We are at the point of REQUIRING AN ACTUAL "FINANCIAL PANOPTICON"
BY THE COMING MARKET FOR INTERNET SERVICES, which, at the moment,
depends completely on on "is-a-person" identification of its users,
primarily because current financial transaction settlement technology
requires the identification and apprehension of people who lie about
a book-entry in a database somewhere instead of failing potentially
fraudulent transactions before they even execute.
-- INTERNET INFRASTRUCTURE FIRMS like ISPs and co-location
facilities are getting over their dot-com bubble hangovers by merging
and filing bankruptcy, while, at the same time, their administrative
costs, caused primarily by the overhead of the billing and payment
process, and moreover, their marketing costs, caused at least
indirectly by the same, keep going up. An auction priced cash-settled
internet infrastructure market would go a long way to restructuring
these markets into something which would be, by definition,
profitable, efficient, and, more to the point, dynamically scalable
without the waste, fraud, and abuse of the current system.
-- Most important, ANY REDUCTION IN SETTLEMENT RISK AND TRANSACTION
COST which these protocols could bring to the capital markets
themselves IS NOW AT A COMPLETE STANDSTILL, and at a time when costs
are being severely controlled, even to the point of threatening the
existence of several very good firms, and the increasing possibility
of regulatory scrutiny, including the forced divestiture of various
business units, raising financial firms' cost structures even more.
- - -- The paradox is, CONFLICT OF INTEREST ARISES DIRECTLY BY SHARED
OWNERSHIP OF CONFLICTING BUSINESS UNITS, such as professional
services and auditing, or even underwriting, securities analysis, and
market-making. In order to have smaller firms, microeconomics tells
us that we *must* lower transaction costs. If transactions are less
transparent but considerably cheaper, then firms get smaller, become
more specialized, and the need for transaction transparency is
reduced. Reduced, in fact, to the point where TRANSPARENCY WOULD BE,
like privacy now is, completely ORTHOGONAL TO TRANSACTION COST.
Into this chaos steps a class of deliberately *anonymous* transaction
protocols, originally designed by decidedly left/liberal academics to
prevent corporate control of personal data, and championed on the
internet by anarchist/libertarians ideologues as a way to prevent
state control of the same information. Yet, the actual *financial*
use of these protocols is now being advocated by researchers in
financial operations as a way to substantially lower risk-adjusted
transaction costs below those currently available with book-entry
transactions, probably even greater a reduction than that caused by
book-entry transactions themselves.
Book-entry vs. Bearer Transactions
Book-entry transactions originated first between individuals and
firms on telegraphic networks as a way to reduce the physical
handling of physical bearer certificates and execution orders, and is
now done on proprietary networks like SWIFT, FedWire, the various ATM
and EFT networks, NACHA and so on, and cleared through various
member-only clearinghouses, securities depositories, and financial
institutions around the world. Checks, credit cards, bank-wires,
virtually all stock, bond, derivative, and institutional currency
transactions are book-entry transactions. In other words, all
finance but the bills in your wallet and change in your pockets is
book-entry finance.
And yet, the most popular *internet* equivalent to using book-entry
methods for settlement and clearing (the exchange of consumer debt
for cash, for instance) so far have involved tunneling credit-card
*execution* requests over the net using TLS/SSL, as is done with the
vast majority internet commerce.
Though, on a considerably smaller though growing scale, tunneled
SSL/TLS is also being used for the actual clearing and settlement of
peer-to-peer book-entry transactions using a single
database/clearinghouse, like PayPal does for national currencies, or,
even, for gold-denominated transactions, like GoldMoney and E-Gold
do.
Internet Bearer Finance
For several years now, many researchers in financial operations,
cryptography, security and internet architecture have come to believe
that that Moore's Law, coupled with internet financial cryptography,
creates something at the same vastly simpler, but capable of
significantly more complex and efficient results: an economy based on
increasingly smaller, cheaper and highly distributed *bearer*
transactions; executed, cleared and settled by increasingly smaller,
cheaper, and highly distributed financial intermediaries.
Instead of a hierarchical system of interlocking book-entries,
requiring law, and force, to clear and settle without fraud, these
researchers see a *geodesic* system of single-use bearer
certificates, cash for debt, equity, and derivative instruments, from
statistically-tested streaming millidollars to single-certificate
gigadollar currency derivatives, all of which would execute, clear
and settle instantaneously, but only if cryptographic and internet
protocols are adhered to by the buyer, seller, and underwriter of a
given bearer certificate.
Not only is the actual transaction risk of such internet bearer
protocols probably reduced to near zero, but, paradoxically, the
resulting the lack of audit trails -- the lack of existence of the
book-entries themselves -- would reduce the mechanical costs of
transactions using these protocols on the internet by more than
book-entry settlement did in replacing physical delivery of paper
bearer certificates starting a century ago.
And so, use of these protocols to underwrite financial instruments,
on what Peter Huber observed is an increasingly geodesic global
communications architecture itself caused by increasingly falling
switching prices, observed at least indirectly by Gordon Moore, is
what IBUC has come to call "Geodesic Capital", and the research in
and development of markets which use Geodesic Capital is the theme of
this Symposium.
THE SYMPOSIUM
Participants are requested to send their suggestions for content,
proposals to talk, etc., to Robert Hettinga of the Internet Bearer
Underwriting Corporation at <mailto://rah@ibuc.com>. What follows is
a brief outline of the Symposium's agenda as it now stands.
CURRENT AGENDA
THE FIRST IBUC SYMPOSIUM ON GEODESIC CAPITAL:
"Internet Bearer Finance in a Transparent World"
Wednesday Morning, April 3, 2002
08:00 Breakfast/Registration
09:00 Welcome and Keynote
Welcome, Introduction: Robert Hettinga, IBUC
Keynote: (TBA)
10:00 Break (Coffee, Tea, snacks)
10:15 Morning Session: The Origins of Geodesic Finance
History of networks, finance, cryptography. The invention of internet
bearer transaction settlement. The promise -- and consequences -- of
bearer settled capital markets. Experience so far in researching and
developing these markets.
12:15 Lunch
13:15 Early Afternoon Session: First Steps -- Simple Bearer Markets
Depository and Custodial Receipts. Simple debt instruments. Simple
Cash.
15:15 Break (Coffee, Tea, snacks)
15:30 Late Afternoon Session: Internet Finance
Markets for internet content and services, bandwidth, etc. Recursive
auctions for content and software. Streaming Cash. Machine to Machine
markets.
17:30 Reception, Cocktails and finger-food
19:00 See You in the Morning...
- - -------------------------------------------
Thursday Morning, April 4, 2002
08:00 Breakfast
08:30 Early Morning Session: Advanced Capital Markets
Equity. Derivatives. Price Discovery. Exchange Protocols.
Intercustodial Settlement Networks. Managing bearer market trading
staff. Paying Stamp Duty and other taxes.
10:00 Break (Coffee, Tea, snacks)
10:15 Late Morning Session: Advanced Capital Markets, cont'd
12:15 Lunch
13:15 Early Afternoon Session: Regulation and Governance
Regulatory Issues. Policy implications. Internet-Based Market
Governance.
15:15 Break (Coffee, Tea, snacks)
15:30 Late Afternoon Session: Getting There From Here
Market Analyses. Development Planning. Market Entry Scenarios.
Meeting the regulatory burden. The market for capital. What's next?
17:30 Conference Close, Reception, Cocktails and finger-food
ADMINISTRIVIA
What to Bring:
Your laptop: We've managed to have at least bonded dial-up access to
the net in the past. It's possible we'll do better than that this
time.
Your talking points: We're leaving plenty of air time for people to
present their ideas and opinions. Contact Robert Hettinga
<rah@ibuc.com>, about your proposed presentations and any collateral
material you would be bringing. In addition, the chair will probably
recruit some attendees to present some of a session's content and
moderate the discussion.
Your ideas, and, most important, your enthusiasm and energy: After
the events of the last year, we have a lot of work to do.
Fortunately, like the apocryphal Chinese ideograph, disaster and
opportunity are very closely related, and, like the troubles we've
had recently, the opportunities we now face are quite considerable.
Dress Code
The dress code at the Harvard Club of Boston is Business Casual, but
the suit ratio approaches 100% these days in light of the dot-bomb...
REGISTRATION AND FEES
Fees
The Symposium includes Breakfast, breaks, lunch, and a reception in
the evening.
The Symposium fee is $875 if received by IBUC before March 1st, 2002.
Between March 1st and 15th, the fee is $1062.50. After March 15th,
the fee is $1250.
Payment
Payment should be in the form of a bank wire, or a corporate or
cashier's check payable to The Internet Bearer Underwriting
Corporation sent to:
IBUC
44 Farquhar Street
Boston, MA 02131
Contact Mr. Hettinga, <rah@ibuc.com>, for wire instructions.
Include the registrants' names and email addresses. Confirmation of
receipt will be sent by digitally signed E-Mail.
Discounts and Scholarships
Depending on circumstances, there may be discounts and complementary
admission for services rendered in kind, and for students and
academics, at the discretion of the Symposium Chair.
SPONSORSHIP OPPORTUNTIES
In addition, sponsorship opportunities are available, in particular
for a keynote speaker, or dinner on either evening. Sponsors would
receive two complementary symposium seats, and reserved table space
for promotional material. Email Mr. Hettinga for details.
SEE YOU IN BOSTON!
If you would like to help create world where the internet
dramatically reduces the cost of moving money, of the transfer of the
ownership of financial assets, digital goods, and internet services,
then Boston is where you should be on April 3rd and 4th, 2002.
We hope to see you there.
Cheers,
Robert A. Hettinga,
Chairman/CEO,
The Internet Bearer Underwriting Corporation
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- --
- -----------------
R. A. Hettinga <mailto: rah@ibuc.com>
The Internet Bearer Underwriting Corporation <http://www.ibuc.com/>
44 Farquhar Street, Boston, MA 02131 USA
"... however it may deserve respect for its usefulness and antiquity,
[predicting the end of the world] has not been found agreeable to
experience." -- Edward Gibbon, 'Decline and Fall of the Roman Empire'
- --- end forwarded text
- --
- -----------------
R. A. Hettinga <mailto: rah@ibuc.com>
The Internet Bearer Underwriting Corporation <http://www.ibuc.com/>
44 Farquhar Street, Boston, MA 02131 USA
"... however it may deserve respect for its usefulness and antiquity,
[predicting the end of the world] has not been found agreeable to
experience." -- Edward Gibbon, 'Decline and Fall of the Roman Empire'
------------------------------
Date: Fri, 22 Feb 2002 12:51:23 -0800 (PST)
From: Wayne Ashley <washley007@yahoo.com>
Subject: [BAM New Media] New Essays from the Online Exhibit Under_score
Update! Two new essays and exhibition catalogue are
available to download from Brooklyn Academy of Music's
(BAM) online exhibit Under_score: Net art, Sound, and
Essays from Australia. Click here to view the exhibit.
http://www.bam.org/under_score
Essays
1) American anthroplogist Allen Feldman's "The Digital
Miniature: Private Perceptions in a Public Space."
http://www.bam.org/under_score/felday.html
2) Australian media theorist and author McKenzie
Wark's "Now Here's What's Happening in Your World
(Even As We Speak)."
http://www.bam.org/under_score/warkay.html
3) RealTime's third annual survey of developments in
Australian new media features short critical essays on
the artists presented in Under_score.
http://www.realtimearts.net/wts2001/working_the_screen.pdf
About Under_score
Under_score: Net art, Sound and Essays from Australia
exhibits the works of nine Australian artists for whom
the internet has emerged as one of the most
significant arenas for artistic experimentation and
multimedia production. Under_score was part of Next
Wave Down Under, the month-long Australian focus of
BAM's Next Wave Festival 2001.
Wayne Ashley
Organizing Curator
mailto:washley007@yahoo.com
- ----------------------------------------------------
http://www.bam.org/under_score
http://www.bam.org/under_score/felday.html
http://www.bam.org/under_score/warkay.html
http://www.realtimearts.net/wts2001/working_the_screen.pdf
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