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Table of Contents:
Booklet details experiences of asylum seekers
"ben moretti" <bmoretti@chariot.net.au>
post open_digi_LATINO, Bradys of BRIXTON
atty@no-such.com (atty)
book announcement--Flanagan
David Weininger <dgw@MIT.EDU>
wired ruins - ctheory multimedia issue 3
Tracey Benson <tracey.benson@anu.edu.au>
Wigged.net: Fresh and Fancy
Seth Thompson <seththompson@wigged.net>
CRIS Youth Arm
Sasha Costanza-Chock <schock@gn.apc.org>
16. Stuttgarter Filmwinter // Call for submissions
Benjamin Fischer <b@punkpixel.com>
------------------------------
Date: Tue, 16 Jul 2002 09:03:09 +0950
From: "ben moretti" <bmoretti@chariot.net.au>
Subject: Booklet details experiences of asylum seekers
> This is the print version of story
> http://www.abc.net.au/news/australia/sa/metsa-16jul2002-
> 1.htm]
>
> Posted: Tue, 16 Jul 2002 8:17 ACST
>
> Booklet details experiences of asylum seekers
>
> A booklet aimed at personalising the experiences of asylum
> seekers in detention in Australia will be launched in Sydney
> today.
>
> The Worst of Woomera is a 48-page collection of stories from
> 30 detainees at the Woomera Detention Centre.
>
> Co-author Dave McKay says the text covers personal profiles
> and developments from the Easter breakout earlier this year
> to hunger strikes and the latest breakout on June 28.
>
> He says it attempts to put a human face to the people that
> are kept in detention and that it is the first collection of
> its kind to be made available to the public.
>
> Any profits from the sale of the booklet will go to the
> Refugee Embassy in Woomera.
- --
ben moretti
mailto:bmoretti@chariot.net.au
http://www.chariot.net.au/~bmoretti
__o
_`\<,_
(*)/ (*)
------------------------------
Date: Thu, 18 Jul 2002 19:39:13 GMT Daylight Time
From: atty@no-such.com (atty)
Subject: post open_digi_LATINO, Bradys of BRIXTON
OLA nettime-l people,
thanks to all of you who got down to the first open_digi_LATINO, BRADYS of Brixton, last Friday. For those who didn't there are two rather inadequate pics of goings-on at http://club.net-art.ws/bradys/later.html
thanks and apologies to those of you got down at the advertised time (8.30 etc) and then had to leave before things really started to swing. I guess in the context of all the stuff we had to fix at BRADYS to get it open for the first time after four years of utter dereliction by 8.30 was very wishful thinking. The reality in the context of Brixton is that things start to really move between 10 and 11 and we ended up with just under 200 through the door and closed around 7am.
and special thanks to all who contributed, put in hours of preparation etc, whether they could be non-virtually present or not, Arcangel Constantini and Fernando Llandos in Mexico, Brian Mackern in Montivideo and Andres Burbano in Columbia. All of them made new fans in South London. Thanks also to Shaun Day and the other people at Mass Productions who showed us their street level video view of what is going on in Argentina, right up to the recent big demos of June 29th. I think we got some stuff shown from a bunch of people and continent to which London doesn't normally pay enough attention.
next up on August 2nd is a show entitled 'AROUND US', with the people (all non-virtual) from http://www.urban75.com and http://www.hi-res.net, toxi of http://www.toxi.co.uk and top Pixel Jockey, elout de kok from Amsterdam http://www.xs4all.nl/~elout/ + sounds. By then we hope we will have made a few more improvements to BRADYS, more projectors, more furniture, more fresh paint etc
hope to see you then and again sorry to those who were misled as to timing last Friday (should mention that if you stay till we close then the Tube should be running again in the morning!)
laters
atty
------------------------------
Date: Fri, 19 Jul 2002 11:27:58 -0400
From: David Weininger <dgw@MIT.EDU>
Subject: book announcement--Flanagan
I thought readers of the NETTIME-L might be interested in this book. For more information, please visit http://mitpress.mit.edu/0262062275/ Thank you!
Best,
David
Reload
Rethinking Women + Cyberculture
edited by Mary Flanagan and Austin Booth
Most writing on cyberculture is dominated by two almost mutually exclusive visions: the heroic image of the male outlaw hacker and the utopian myth of a gender-free cyberworld. Reload offers an alternative picture of cyberspace as a complex and contradictory place where there is oppression as well as liberation. It shows how cyberpunk's revolutionary claims conceal its ultimate conservatism on matters of class, gender, and race. The cyberfeminists writing here view cyberculture as a social experiment with an as-yet-unfulfilled potential to create new identities, relationships, and cultures.
The book brings together women's cyberfiction--fiction that explores the relationship between people and virtual technologies--and feminist theoretical and critical investigations of gender and technoculture. From a variety of viewpoints, the writers consider the effects of rapid and profound technological change on culture, in particular both the revolutionary and reactionary effects of cyberculture on women's lives. They also explore the feminist implications of the cyborg, a human-machine hybrid. The writers challenge the conceptual and institutional rifts between high and low culture, which are embedded in the texts and artifacts of cyberculture.
Mary Flanagan is Associate Professor of Media Design at the University of Oregon. Austin Booth is Director of Collections and Research Services at SUNY Buffalo.
Contributors:
Alison Adam, Austin Booth, Octavia Butler, Sharon Cumberland, Dianne Currier, Candas Jane Dorsey, Julie Doyle, Mary Flanagan, Thomas Foster, Heather Hicks, Veronica Hollinger, Shariann Lewitt, Anne McCaffrey, Laura J. Mixon, C. L. Moore, Lisa Nakamura, Kate O'Riordan, Catherine Ramírez, Mary Rosenblum, Melissa Scott, Theresa M. Senft, Jyanni Steffensen, Sarah Stein, Rajani Sudan, Sue Thomas, Amy Thompson, James Tiptree, Jr., Bernadette Wegenstein.
"The focus in this book on research and creative work by women is desperately needed in the largely male-dominated world of science fiction and cyberpunk. Reload provides resources not easily accessible elsewhere."
- --N. Katherine Hayles, Professor of English, and Design and New Media, University of California, Los Angeles
7 x 9, 584 pp., 14 illus., paper ISBN 0-262-56150-6, cloth ISBN 0-262-06227-5
______________________
David Weininger
Associate Publicist
The MIT Press
5 Cambridge Center, 4th Floor
Cambridge, MA 02142
617 253 2079
617 253 1709 fax
http://mitpress.mit.edu
------------------------------
Date: Sun, 21 Jul 2002 09:54:14 +1000
From: Tracey Benson <tracey.benson@anu.edu.au>
Subject: wired ruins - ctheory multimedia issue 3
Please Forward (Apologies for Cross Listings)
CTHEORY Multimedia announces a new issue of critically important net.art:
Wired Ruins: Digital Terror and Ethnic Paranoia (Issue 3)
URL: http://ctheorymultimedia.cornell.edu
Reacting to the complex horrors of terrorism while resisting the surveillance
regimes of the disciplinary state, "Wired Ruins" invites its users to
intermix
critically with net.art projects in three interactive databases: "Digital
Terror:
Ghosting 9-11," "Ethnic Paranoia, before and beyond," and
"Rewiring the Ruins."
Resisting the repression of the new age of censorship, "Wired Ruins"
presents
digital and viral networks of ethnic identities that emit faint signals for
recognition among the overlapping diffusions of cultural angst and digital
terror.
Exhibiting artists: YOUNG-HAE CHANG HEAVY INDUSTRIES, Horit
Herman-Peled, Tracey Benson, Jay Murphy & Isabelle Sigal, xiix, Lewis
LaCook,
Davin Heckman, Robert Hunter & Guilermo Aritza, Dror Eyal & Stacy Hardy,
David
Golumbia, Jason Nelson, Dirk J. Platzek & Han Gene Paik, Tobias van Ween
& Alex
Bell, Andrew Hieronymi & Tirdad Zolghadr, Christina McPhee, and Jason
Nelson.
Arthur and Marilouise Kroker
Timothy Murray
CTHEORY Multimedia Co-Curators
www.curios-world.net
------------------------------
Date: Sat, 20 Jul 2002 10:15:31 +0800
From: Seth Thompson <seththompson@wigged.net>
Subject: Wigged.net: Fresh and Fancy
- --============_-1184991159==_ma============
Content-Type: text/plain; charset="iso-8859-1" ; format="flowed"
Content-Transfer-Encoding: quoted-printable
WIGGED.NET JUNE 2002 E-NEWSLETTER--VOL. 2 ISSUE 14
Wigged.net (http://www.wigged.net) is an evolving digital magazine
focused on bringing innovative short videos, animations and
interactive works over the Internet. Our mission is to be a
showcase, distribution and promotion center for pioneering artists
via the World Wide Web.
=46or information on advertising in Wigged.net's E- Newsletter or on
Wigged.net, please contact seththompson@wigged.net.
******************************************
INDEX
+Call for Works
+Performance
+On-Line Exhibitions
+ Book News
+ Web Projects
+Now Showing on Wigged.net
+Call for Works
+Publicity Opportunity
*******************************************************************
PERFORMANCE
S H A R E . E V E N T . I N . N E W . Y O R K . C I T Y
Every Sunday 5:00-9:30 p.m.
at
PENAIR, 121 St. Marks Pl. (near Avenue A) NYC
or
Watch it live on-line at: http://share.ffem.org
Share is a weekly assemblage of portable computing, founded in 2001 by
Barry Manalog, geoffGDAM and Newclueless that provide a "real life"
open forum for data exchange and media performance.
Share begins every Sunday at 5pm (EST) with the open jam. An
open-mixer systemfor video and audio lets participants patch their
equipment into the multi-channel, multi-room sound system and
multi-screen video system. Artists are encouraged to bring any
portable audio and video gear and take a turn sharing, join in an
open jam, or form impromptu collaborations. We accommodate both solo
performers and those looking to jam, as time and space allow. Arrive
early for best results.
Share has collaborated with other electronic festivals and events,
including Electroluxe in NYC and the PhonoTaktik festival in Vienna.
Collaboration with 2002 PhonoTaktik festival took two forms: live
performances and collaborations when the festival was in NYC, and a
streaming NET.JAM when the festival continued in Vienna.
Weekly Share Stream: http://share.ffem.org [ SUNDAYS 17:00 to 21:30 EST ]
***************************************************
ADVERTISEMENT
Evolving Traditions: Artists Working in New Media
Video Documentary. 2002. (Color, 56:35)
Directed and produced by Seth Thompson.
Profiles four internationally recognized artists who have
incorporated current computer technology into their work to enhance
their artistic visions. Artists addressed are: Mark Amerika,
Tennessee Rice Dixon, Toni Dove, and Troika Ranch.
The documentary is currently distributed by Wigged Productions and is
available for $29.95 (includes S/H) at
http://www.wigged.net/evolvingtraditions/ .
***************************************************
ON-LINE EXHIBITION ANNOUNCEMENT #1
"Actual Positions of Italian NetArt"
Curated and developed by Agricola de Cologne
JavaMuseum
=46orum for Internet Technologies in Contemporary Art
www.javamuseum.org
=46or many, Italy represents the craddle of European culture and art.
It is geographically where some of the most active and influential
online New Media publications and net art can be found. This
on-line exhibition features twenty Italian artists at various career
stages from the up-and-coming to the well known. Each represents a
unique aspect of approaching "NetArt." The featured artists are:
Caterina Davinio, Carla Della Beffa, Mauro Ceolin, Bugs, ego,
Isabella Bordoni, Domiziana Giordano, dlsan, Sergio Maltagliati,
Speranza Casillo, Domenico Olivero, Coniglioviola, Giocomo Verde,
Luigia Cardarelli, Avatar project, 80/81, Francesca di Gregorio
Gruppo A12, Carlo Zanni, 0100101110101101.ORG
*****************************************************************
ON-LINE EXHIBITION ANNOUNCEMENT #2
=46Af (http://www.fineartforum.org) is pleased to present the first
installment of a new work by Molly Hankwitz. Peripheral Property is
an autobiographical piece emerging out of a personal interest in the
latent, myriad poetries of the commercial website eBay
(http://www.ebay.com) and similar 'architectures' of things.
Describing Peripheral Property as a culture-jam, Hankwitz says on
eBay, one finds and identifies with images of toys and gadgets as one
would the contents of a "real" fleamarket, a messy room, or
collection of other found things.
In this process, memories are attributed to the objects from deep
within the recesses of one's mind, past and present. In new media as
in all art, we often find ourselves restructuring and reordering
information to form a continuity of idea, she says of the work.
"Memory-retrieval, performed subjectively is both psychoanalytic and
highly personal, a way of reconstituting desired events selectively
to organize a new whole. Peripheral Property is a conceptual document
then, which deals with these arenas of process and value."
Molly Hankwitz is a U.S born writer, filmmaker and media artist based
in Brisbane, Australia. Her work encompasses a number of disciplines,
including architecture, digital culture, art history and media
activism. Characterised by a concern with memory, identity and self,
Hankwitz's work constitutes an interdisciplinary examination of the
contemporary cultural landscape.
***************************************************
BOOK NEWS
THE LANGUAGE FOR NEW MEDIA is now On-line
by Lev Manovich [MIT Press, 2001]
http://www.manovich.net/LNM_SITE_NEW/lnm_main.html
Lev Manovich offers the first systematic and rigorous theory of new
media. He places new media within the histories of visual and media
cultures of the last few centuries. He discusses new media's reliance
on conventions of old media, such as the rectangular frame and mobile
camera, and shows how new media works create the illusion of reality,
address the viewer, and represent space. He also analyzes categories
and forms unique to new media, such as interface and database.
Manovich uses concepts from film theory, art history, literary
theory, and computer science and also develops new theoretical
constructs, such as cultural interface, spatial montage, and
cinegratography. The theory and history of cinema play a particularly
important role in the book. Among other topics, Manovich discusses
parallels between the histories of cinema and of new media, digital
cinema, screen and montage in cinema and in new media, and historical
ties between avant-garde film and new media.
***************************************************
WEB PROJECTS
_ _ _ _ _H_F _ _ _ _ _
_C_R_I_T_I_C_A_L_
_ _ _ M_A _S _S _ _
v1.0 SOFTWARE
http://www.wildernesspuppets.net/hfcm/
HF CRITICAL MASS is freely available software, which is based on a
1971 film by Hollis Frampton titled "Critical Mass".
HF CRITICAL MASS adopts the structure of the earlier film as an
interface for improvising playback of digital video (quicktime
movies).
Mac and Windows versions for download at:
http://www.wildernesspuppets.net/hfcm/
=3D_ =3D_ =3D_ =3D_ =3D_ =3D_ =3D_=3D
The films of the late Hollis Frampton spanned the late 1960s through
the early 1980s. His work, Critical Mass, is one of a series of films
collectively titled "Hapax Legomena" that investigate "the specific
conditions of cinematic representation and the limitations and
paradoxes of visual description and narrative." (description by
Steve Polta - San Francisco Cinemateque, 2002)
***************************************************
CALL FOR WORKS
Seeking innovative and experimental video, animation and net art.
Please visit http://www.wigged.net and go to the "submit media" page
to fill out our on-line registration form and send requested
materials.
DEADLINE: Nov 15, 2002 for Wigged's January-March, 2003 issue.
********************************************************************
NOW SHOWING ON WIGGED.NET
through August 31, 2002
Humberto Ramirez's HATE.
Ramirez writes, "This is a video in which the cultural dynamics of
hatred are explored through a series of talking heads and monologues.
The video seeks to denaturalize a condition in which the potential
solidarity amongst different people is subverted by notions of
nationalism, race, gender, class etc.
By problematizing what seems to remain hidden or at least unspoken
this work seeks to provoke a conversation." United States. 2002.
Agricola de Cologne's Never Wake Up.
Based on the artist's poem of the same name. The poem/movie uses
some fundamental images: The "soldier" is metaphor for the human
individual. "War" is a metaphor for life, respectively the fights of
everyday day life; and the "veteran of war" is the human being who
cannot rid himself of the shadows of the past. Never Wake Up
addresses the loss of identity where the soldiers become distorted
and veterans have difficulty with reintegration into post-war
society. Germany. 2001.
Jimpunk's www.nowar.nogame.org.
Jimpunk ironically states that in his piece www.nowar.nogame.org,
"everything is under control." However get ready for a nerve-racking
event. At first you may think that your computer has been infected
with a virus. But don't worry, it's not. Fasten your seatbelt as
you embark on a mind-blowing journey that is a masterful mixture of
image and sound. Kudos to jimpunk! France. 2001.
Daniel Young's NewZoid.
NewZoid is a work of generative art. It plays with the most common
information form of our time - the headline. NewZoid continuously
collects the daily news, tears it apart, chops it up and endlessly
reassembles the pieces into absurd, funny, shocking and
thought-provoking headlines. The Site has been operating on its own
since April 8, 2001. United States. 2001.
Dinorah de Jes=FAs Rodriguez & Gustavo Matamoros's L'Anatomie du D=E9sir.
This assemblage of erotic images, found and damaged footage, and
handcrafted 16mm film was originally projected onto the torso of
Butoh artist Helena Thevenot as part of the one-hour collaborative
piece "The Anatomy of Desire." A tribute to biophysical impulses,
the video version synchronizes the film to its original score by
Gustavo Matamoros. United States. 2002.
Thomas Swiss and Seth Thompson's In the Woods.
In the Woods, a collaborative effort between Thom Swiss and Seth
Thompson examines the ideas of memory, aging and loss. The result of
the collaboration suggests the way language (in this case a poem by
Swiss) can be re-represented and changed by images (a film by
Thompson). United States. 2002.
To view these works visit the "Now Showing" page at http://www.wigged.net
******************************************
PUBLICITY OPPORTUNITY
We are looking to promote your upcoming exhibitions and new releases.
If you would like for us to promote your work either through our
newsletter or Wigged.net webzine, please send your press releases to:
Seth Thompson
Wigged Productions
418 Woodland Ave.
Akron, OH 44302
or you may e-mail press releases to seththompson@wigged.net. No file
attachments will be accepted. If you have images that you would like
to include, please send them via snail mail to the above address.
*******************************
Please Note: To remove your e-mail address from my list simply reply
to this message and type the word "unsubscribe" in the Subject field
at the top of your reply. If you have more than one e-mail address
through which you might be receiving this, please be sure to list
them all.
- --
Seth Thompson
Wigged Productions
seththompson@wigged.net
http://www.wigged.net
------------------------------
Date: Tue, 16 Jul 2002 16:29:44 +0100
From: Sasha Costanza-Chock <schock@gn.apc.org>
Subject: CRIS Youth Arm
16.7.2002
CRIS Youth Arm forms
A group of young people who have been active in the World Summit on the
Information Society process and with organizations involved in youth, ICTs,
sustainable development, and human rights have formed a Youth Arm of the
Communication Rights in the Information Society (CRIS) campaign.
We plan to work at various levels towards the vision of an ‘Information
Society' with people at the center. In the immediate future we hope to:
- -work with the WSIS youth caucus to ensure participation for a wide range
of youth in the WSIS process, including young members of communities
currently excluded from the new communications technologies.
- -work with young people at various fora (for example the III Global
Congress on Community Networking in Montreal, the ITU TeleCom Youth Forum,
the PrepComs and the WSIS itself, as well as others such as Media Democracy
Day and the World Social Forum) to advocate the idea of technology as a
tool, not an end in itself, and to ensure that attention is paid to the
social, economic, political, cultural, and environmental impacts of
technologies.
We invite those interested in working with CRIS youth to join our mailing
list, cris_youth@comunica.org. You can sign up at
comunica.org/mailman/listinfo/cris_youth_comunica.org
More information on CRIS-Youth is currently available at
projects.takingitglobal.org/crisyouth
Peace
'Gbenga Sesan (Nigeria)
Gustavo Noronha Silva (Brazil)
Ha Lan Anh (Vietnam)
Sasha Costanza-Chock (USA)
for CRIS-Youth
.................
schock@gn.apc.org
GreenNet: 44 (0)20 7713 1941
Mobile: 44 (0)79 8577 5999
www.crisinfo.org
Communication Rights in the Information Society (CRIS)
------------------------------
Date: Wed, 17 Jul 2002 19:06:24 +0200
From: Benjamin Fischer <b@punkpixel.com>
Subject: 16. Stuttgarter Filmwinter // Call for submissions
http://www.filmwinter.de
English version see below:
////////////////////////////////////////////////////////////////////////////
Call for submissions
16. Stuttgarter Filmwinter - Festival for Expanded Media
Festival 16.-19. Januar 2003
Warm Up 9.-15. Januar 2003
Filmhaus Stuttgart und andere Orte
Die 16. Ausgabe des Stuttgarter Filmwinters wirft ihre eiskalten Schatten
voraus: Künstler, Medienschaffende und Filmemacher können bis zur Deadline
1. Oktober 2002 ihre Arbeiten einreichen. In den Sektionen Film/Video und
Neue Medien werden Preise in Höhe von ca. 10.000 Euro vergeben.
Infos und Regularien sind unter http://www.filmwinter.de erhältlich.
Anmeldeformulare im PDF-Format können von der Festival-Website
heruntergeladen werden.
////////////////////////////////////////////////////////////////////////////
16th Stuttgart Filmwinter - Festival for Expanded Media
Festival January 16-19, 2003
Warm Up January 9-15, 2003
Stuttgart Filmhaus and other venues
Call for submissions:
Artists, media producers, and film makers are invited to submit their work
to the Stuttgart Filmwinter. Deadline for entries is October 1, 2002. In the
fields of film/video and new media (internet/CD-ROM/media installation)
prizes amounting 10.000 Euro will be given.
For further information and for detailed regulations please visit our web
site http://www.filmwinter.de Entry forms in pdf-format are available for
download from the festival's web site.
////////////////////////////////////////////////////////////////////////////
------------------------------
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